Page 324 - Arte e Historia

Words by the Author

The history of visual arts (drawing, sculpture, photography and painting) of this book, is based on a selection
of treasured works and their authors by Banco Popular. Overall, we refer to the exhibitions of the authors and their
works. However, as far as possible, selective or minimal curatorial evaluation prevails over the hundreds of works that
make all the treasures of the bank.

With the above author’s explanation, the reader will notice the following:

–In more than one chapter there are lists of groups of artists. Some chapters only provide facts about the artists’s
lives, others include the full biography and their pertinent artistic work.
–Reference to dates of birth and deaths are made only when dealing with artists quoted on the chapter with
unique works in the collection. Conversely, the year of death is mentioned insofar as the artist works possesses
a distinct record of exhibitions covering various creative processes. For instance: painter Yoryi Morel with works
since 1928 until 1970s; in this case we indicate both, his date of birth and his day of death. As a different case,
Eligio Pichardo with works in he collection of the 1940s, requires the indication of his birth and death, as the
artist does not reappear in the historical narrative.

The history of this book, moreover, offers an explanation not quite chronological, nor by successive generations.
Taking as point of departure a masterpiece (The Moor, 1990), the pace of the chapters is on the one hand,
an association of emblematic works of a period, and on the other hand, the establishment of intergeneration
confluence.

In addition, other chapters explain new-modern artistic language, the internalized vision of the landscape by
dozens of Dominican and foreign artists, and the collection of those painters with remarkable works of art included
in the treasures of Banco popular; painters, who occupy, indisputably, their rank of deceased masters, worthy to be
remembered together with their visual art production.

Finally, in the book I present an unusual vision: no absolute attachment to a sequence of generations. Our gaze
is linear or progressive, and in the chapter in which we concluded our narrative vision, we provide a retrospective
approach.

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