Page 363 - Arte e Historia

Art and History
at the Banco popular dominicano visual arts collection
«Woman Farming the Land,» mix/canvas, 100x80 cm.,
1961. In his third individual exhibition, registered in
1959, the artist reaffirms his option of a solitary path
within the group of modern painters, defined by his mul-
tiple synthesis of discourses: abstraction, expressionism
and geometry, but he also confesses about his resources:
«I use the common pigments on a mix of powder and
sand, special varnishes, wax and water, to create what I
call oil-temper-plastic. I started this experiment in 1955
and have been improving it day by day until I got the
texture and contexture that characterize my work.» In
«Woman Farming the Land» both the discourse and ma-
terial qualities are present. Paul Giudicelli sets an avant-
garde and abstract vision about the farmers on the image
of a woman. It is a material and monochromatic piece
with a wide tonal range. «Composition,» painting/ceramic,
24x24 in. «Ant au Caribbean,» oil/ceramic, 40x30 cm., 1962.
On his first individual exhibition (1953), Giudicelli
showed drawings on mosaic that resulted in an original
approach to the visual discourse conceptions and the use
of ceramic as compositional support for zoological repre-
sentations (roosters, cats, ants…) and for folklore (masks
and rituals). Since 1961, his sounded creations reveal the
culmination of a process. The compositions in ceramic
speak for themselves about such a maturity; as also do
the paintings awarded at the X and XI National Biennials
in 1960 and 1963, as well as at the First Art Competition
E. León Jimenes in 1964.
Guillo Pérez. A painter whose development generated
cycles of an inner search and findings. He was the Director
at La Vega Fine Arts School during the 1960’s first five
years. In that period, he produced five individual exhi-
bitions while traveling to Europe and North America.
He also obtained the Second Prize at the Arts Annual
Contest E. León Jimenes, 1964, with a painting that as-
sociates him to the abstract art.
«Abstract,» mix/canvas, 41x71 cm., 1965. The prickly, ex- oil/canvas, 81x122 cm., 1966. The artist had obtained the
pansive, in motion forms density, creates the sense of a
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dramatic spiritual convulsion, underlined by the nation’s
colours: blue, red and white. This painting’s date coin-
cide with the capital city’s revolutionary upraising on
April 24th, 1965. «Landscape,» 30x40 cm., oil/canvas, 1966.
With an abstractionist concept and a composition based
on geometric solutions; the rectangular square format
and an oval shape spanning almost all over the space, the
painter represents the landscape with black foliage draw-
ing a dividing line between upper and lower space; this
one presented as a water mirror where the vegetation is
reflected. The effective contrasts of the triangles’ white,
cut into the marble white of the receptacle ovum and the
succinct view of nature.
Leopoldo Pérez/Lepe. (Santo Domingo, 1937). He
studied at the Fine Arts National School. In 1959 obtains
the Trujillo’s Great Painting Prize, and the Second Prize
in Sculpture. He also held his first individual exhibition
that very same year. In 1960 he participates and wins the
only special prize awarded by the Jury at the X Nation-
al Biennial. He travels, lives and shows in the United
States. A scholarship in Spain allows him to broaden his
studies in ceramic at the Marques de Urquijo School, as
well as in drawing, at Madrid Fine Arts circle. There, he
had his second individual showing in 1964; exhibition
that reveals a particular humanistic sense among the so-
cial marginalized he embraces by signing with the a.k.a.:
Lepe, using his name and surname vowels.
«The Musicians,» mix/canvas, 91x69 cm., 1964. A paint-
ing exhibited at the Hispanic Culture Institute where he
held an individual show that, according to the Spanish
critic González Robles, «Reveals the existence of a true
artist,» and follows «one of the most singular cases on the
current Dominican painting field,» and Darío Suro, adds:
«On his first paintings the dramatization of an aborigine
world… is absorbed by a tragic sense on the majority of
his compositions». In this sense, it reveals the musicians’
drama and social desolation on this painting. «Agony,»