By Oriana Padilla. Cover image: Cesar Santos, Manuscripts at Robilant+Voena, New York. Photo: Arturo Sanchez

Cesar Santos, a Cuban-American artist, draws endless inspiration from Florence, where he lives and works, soaking in the city’s rich artistic energy. Known for his innovative fusion of classical techniques and a modern vision, he finds deep resonance in the works of the Old Masters like Masaccio, Botticelli, and Michelangelo, whose masterpieces continue to awaken and refine his own artistic journey. 
Born in Santa Clara, Cuba, and raised in Miami, Florida, Cesar studied at the New World School of the Arts before moving to Florence for further training. He later relocated to New York City, where he fully engaged with the vibrant art scene and won first prize in the Metropolitan Museum of Art’s photography competition, “It’s Time We Met”.

The impact of Florence on Cesar Santos’s Artistic Style

The timeless beauty of Florence has deeply influenced Santos’s artistic evolution, particularly through the masterpieces that first captured his attention during his time there. Among these, Masaccio’s frescoes in the Brancacci Chapel left a lasting impression, sparking his admiration for their naturalism and innovative realism. He has also drawn inspiration from Pietro Annigoni, embracing the practice of copying as a means for artistic growth. 
In his studio, a space brimming with experimentation and creative exchange, he merges various techniques and artistic languages, crafting a style that is uniquely his own. A celebrated portraitist, Santos has recently ventured beyond representation in his oeuvre, developing an innovative and highly personal style. His recent paintings and drawings strike a balance between familiar aesthetics of the Old Masters, and unrecognizable forms that appear to shift and evolve within each piece. 
Santos’s work has been exhibited in the United States and worldwide. In this interview, he shares about how the timeless beauty of Florence has influenced his distinctive style. Discover how his journey from Cuba to Florence has shaped his creative vision and how he continues to push the boundaries of artistic expression.

Cesar Santos on Florence, Art, and the Alchemy of Cultures

How do you convert your feelings into an art form?

Since feelings originate from the senses, they are a neurological outcome of what is perceived. To transform our senses and feelings into an art form, we must engage in thought, carefully selecting the elements that will shape these emotions. In my case, I love pigments and how they flow together when mixed in oil. The first step is to appreciate and become familiar with my tools. The brushes, canvas, and palette serve as mediums through which I can visually express my discoveries. I work to become the vehicle that carries the spiritual world of invisible emotions and thoughts into the natural world of visual effects.

Which art form do you think your art identifies with?

I think there is only one art form: the kind that arises from deep human emotion. The various subdivisions of art movements are the result of a civilized world and a scientific mindset seeking labels. The art I create now, like all art, is intimately connected to my life experiences.

What aspects of art from the past should we protect in the present?

We should strive to preserve our sensitivity to the surface qualities of the natural world. In today’s society, we have increasingly distanced ourselves from a direct relationship with nature and its mysteries. We are constantly exposed to false imagery, misled by printed materials using CMYK colours or screens with RGB hues. We have become numb to real texture and the flow of authentic matter, which could make our existence rich in moments of wonder and meditation.

How did your experiences shape you into the artist you are today?

We are one with our experience, and my multicultural journey has allowed me to develop a personal style that reflects my Cuban roots—infused with flavours and movement—alongside the extroversion of the United States and the rigour of European traditions. I believe that much of what drives my art happens subconsciously, and who knows how deeply this shapes my art.

How was studying art in Florence during your adolescence, and how do you compare it to living in the city now?

Florence introduced me to history in a tangible way. There, I could study art theory and see it brought to life in person. The vast concentration of art in this city ignited a curiosity within me. I wanted to learn to perceive beauty, understanding that every visual effect needs an internal order. I dedicated my life to seeking out these underlying structures. After twenty years, I have returned to Florence to enjoy painting in such a historically rich environment.

How did the cities you’ve lived in influenced your creative process?

Each city I have lived in has shaped my artistic rhythms and conditions, but it’s hard to say exactly how. Beyond the aesthetic value of a city and the energy of its people, I believe that the main influence comes from within. The same city can be seen through countless perspectives, meaning a city’s impact is ultimately in the eye of the beholder.

How was your early life, and how was life in Cuba?

My early life in Cuba was filled with joy. I was fortunate to have loving parents who taught me the importance of discipline and compassion. I also learned that being free also means being responsible, developing good opinions and giving my best to every task I undertake. These teachings provided me with valuable protection in a wild world of ups and downs. Living in Cuba until I was twelve years old laid a foundation of physical awareness for me as I engaged in several sports and learned mental resilience. I became accustomed to being satisfied with few material possessions and navigating through food scarcity and challenging psychological situations. Today, my life revolves around the essentials, and I strive to maintain a balance between physical activity and mental well-being. In this more civilised world, I find it much easier to forge my own path.

What technique do you use, and why did you choose that one in particular?

For each painting I create, I develop a new technique. I continually ask myself, “what is the purpose of my next action in the painting process? What do I want to express with each mark I make on the canvas?” This approach leads me to begin each piece differently. I think about whether the foundation is thick or thin, what tone or colour to use, what value to add, and what type of application to choose. Once that layer dries, I then contemplate how to approach the subsequent layers. I feel that each painting evolves from its own particular technique, as the subject matter and the method of creation are intertwined. Instead of sticking to a premeditated process that applies to all subjects, I embrace the freedom and spontaneity of my tools and materials.

What spots would you recommend artists to visit in Florence besides the Uffizi Gallery? 

Each artist needs to find what aligns with their creative energy. I believe every corner of this planet is potentially full of inspiration for a curious and imaginative mind. 

Do you think tourism in Florence affects the emergence of new artistic and creative movements within the city?

This new form of tourism reflects the quality of the leadership that allows it to flourish; I don’t think it is the tourists’ fault. Florence would attract millions of visitors, but those in charge often overlook the needs of the locals when it matters most. The residents should be the ones benefiting from the tourism industry and in control of their own pace and livelihoods. Artists, in particular, need affordable housing and space to think and work, and a touristy-heavy city can turn into little more than a shopping centre, which is far from inspiring. Personally, I look beyond the crowds and still see the artistic beauty around me. I prefer to visit museums as soon as they open so I can spend some time alone with the masterpieces.

What are your plans for the future?

My plan for the future is to keep learning and experimenting. I will remain open to anything that aligns with my values. I have found that by enjoying the present and acting with good intentions, the future often unfolds favourably. When the future arrives, I will accept its surprises, whether they bring joy or pain. Ultimately, everything sensory is in a state of constant change.