Page 369 - Arte e Historia
P. 369
Art and History
at the Banco popular dominicano visual arts collection
of two women becomes a rupture on a theme recreated influenced the «condecito» artistic production (as his
in all details, including a mountainous landscape view friends used to call him), alongside Jaime Colson. He is
with a shining celestial body on the horizon. imprisoned for taking part in the conspiracy against Tru-
jillo. He militates in political parties close to Communist
Miguel De Moya. (La Vega, 1904). Self-educated since tendencies, in the Art and Liberation Group, traveling
to the Communist China, then returning back to join
his early years, his artistic vocation grows up as an adult the urban struggle in 1965. This fact associates him to
person. He follows formal studies at a New York acad- «The Fist,» a group that postulate a national and engaged
emy, while working as the Dominican consulate in 1928. art. In 1967 he has an individual exhibition which con-
The diplomatic career took him to diverse European cit- secrated him as a painter associated to impressionism.
ies: Florence, London, Paris, Madrid and communities Later on, while painting murals with Colson from 1969-
from Andalucia, Spain, developing pictorial endeavour 1975, he makes a discourse and thematic turn into this
with the encouragement of his frequent visits to the mu- master’s new-humanistic concepts.
seums where he finds the Western art academic sources.
Once back in his country for good, he becomes master of «Study no 1, Electra,» charcoal/paper, 78x45 cm., 1975.
himself, broadening his artistic production, normally re- According to Colson’s new-humanistic approach, and
served for the private art collections circles, until he held the academic representation of a Classic or Greek refer-
various individual showings. In the 1970s, there are sev- ence, the painter conceives Electra in a mannered pose.
eral individual exhibition on record, including the Nader The cape does not hide the naked, toned, vibrating body
Gallery in 1973, the Aufant Gallery in 1975 and 1976, as forms. She is a unique subject in a context of revival
well as the one at Alfonso Decoraciones in 1979. metaphysical architectural space.
«Peasant woman,» oil/canvas, 75x60 cm., 1973 v «Un- Virgilio Méndez. (Santo Domingo, 1941). Recorded his
titled,» oil/canvas, 70x55 cm., 1974 v «Farmer,» oil/canvas,
90x60 cm., 1974. Well-known for his pastel colours handling first individual showing at The Commercial Hotel Bar, just
in allegoric works and portraits; his work is defined by upon graduating from the Fine Arts National School, in
the anecdotic realism, regional, fruity and scenic themes. 1962. Assumes an art teaching position in San Francisco
On the approach to native characters, adult or elderly de Macorís (1963). He gets a scholarship to continue his
farmers, he shows great command of their physiognomy, training in Madrid, Spain, getting back in 1968, to have
the corporality and spiritual inner self; and their social his second individual at the Dominican-American Insti-
condition. «In Miguel de Moya, there is a reflected truth on tute, showing in his paintings an expressionist affiliation.
each millimetre of his paintings: sincerity and then Dominican During the 1970s, as an assistant professor at Colson’s
nature. Sincerity, because he wouldn’t paint what he doesn’t academy, his nexus with the master became closer.
fill; Dominican nature, because in all his paintings, no matters
the theme, arises the strength of the national spirit…». (Enrique «Social Gathering,» water-colour, ink/paper, 31x24 cm.,
De Marchena, Listín Diario, March 16th, 1973). 1976. Some of the women poses and mannerisms in this
social gathering, remind us of Colson’s school, despite
José Ramírez Conde. (Partido, Dajabón municipality, the fact that they are in a neighborhood context. They
are black women dressed in short and patterned clothes,
1940/Santo Domingo 1986). He joined the Fine Arts with buns, scarfs and umbrellas. Three of them walking,
National School in 1957. In overtime, he got trained the other one seated over a stone bordered by little flow-
at Paul Giudicelli’s atelier, one of the two masters who ers, with a greengrocer’s basket on her lap.
370
