In 1915, he entered San Alejandro Academy, just to receive, sometimes, drawing classes. Having a nervious temper, he used to wander around different cities of the island looking for motives and for the living. Through this wandering, he left his artistic vestiges in popular places such as bodegas or hotels of low category at small cities from the inner part of the island. Being a restless walker, a dreamer, he created stories about performances of works at non-real stays abroad. The name Fidelio Ponce de León was also imaginary, the real one was Alfredo Fuente Pons.

He was an intense reader having marvelous memory and fantasy, capable to provide with careful details his large descriptions. The demencial characteristic of his way of acting, signed his pictorial labor. He created portrays, taking as reference old pictures. Sorrows, loneliness, miseries and misfortune are frecuent inspirations for his works where is present frustration and calamities he had to face and the incongruity in his activity as painter of announcements and posters, urged by subsistence matters and his inspired artist vocation.

The specialists appreciate in his works two great moments: one before 1935, landscapes and portrays, where delimitations of clear defined lines can be seen, a good example is the oleo Beatas, which is a kind of bridge to the searching of his most inmortal style. Between 1935 and 1940 there is a period of transition in which the lines of his figures are softer and became less defined, creating a more typical style and this fact allows him to be an isolated case within the first Non-Academicist Vanguard.

His painting Niños, (Children), is his most outstanding and popular work. At this stage, his works reflected already, his anguish and unstable existence. It is a surrealistic painting where we can perceive a great imaginative power, in which strange figures of large styles and generally static having a solemn air appeared. Even in the 40s, when his creation reached its greater splendor, his work did not solve his economic problems, on the contrary, in some ocassions, he painted to have home or food.

Expression
Although he was marked by his epoch, he did not develop a critic work about the social moment he lived, but he created for himself a space where he reflected incongruity and no satisfaction, he attacked the religious hypocrisy and the social conventionality.

Technique
His paintings are characterized for the abundancy of white zinc, achieving a kind a painting he called nacarada, using ocres and earth colors. He was denominated monotonous , due to his monocromatic style in the use of the white color that he recreated with the shades of nacar. During his poor existance, his work had a moment of social recognition, when in 1944, the Circle of Fine Arts of Havana, organized an Homage exposition for him.

Context
He lived and created within a period politically ruled by the so-called Generals and Doctors, stage in which is produced an ascent of the Republican Bourgeosie to the power and is present an implicit social frustration after the attemptions of advancing of the most illustrious sectors of the Cuban society, which, along a half century of Republican life, did not give much attention to painters and sculptors. Some artists, representatives of the Academic stream, had a weak official recognition while the Vanguard group had been presented their credentials since the 20s fighting against great difficulties and only understood by sensible and intelligent intelectuals that accepted the renovation on Plastic Arts.

Being sick os tuberculosis, he was secluded at La Esperanza sanatorium, he abandoned it in 1947 and died short time after.