Page 378 - Arte e Historia

Danilo De los Santos
Francisco Santos. (Santo Domingo, 1949). Disciple in-
fluenced by Norberto Santana at the National School of
Fine Arts, obtains an award with his drawing «Peasant» in
the XIII Biennial held in 1974, offering a personal figura-
tion that reconfirms with the first solo exhibition here-
after. His compositions are simple, solid and with warm
colours, addresses still lives, landscapes and full lips brown
women. His still lives offer simplicity in relation to pop
art. According to Marianne De Tolentino, (Listín Diario,
Sept. 18, 1974), The landscapes transmit, with his handling of
lines, well-defined volumes and vibrant ink, the burning tropical
sun, an atmosphere with some dramatic character.
The painter has recorded seven solo exhibitions from
1974-1987, and has won national and international recog-
nition. In his sample from the gallery «The Magual,» he
incorporates pigeons to his series, remembering that as a
child he used to raise them in his house backyard. Fran-
cisco Santos will maintain consistency of new figuration to
its «Experiences of the Barrio,» series showing in 1997.
«Brown Woman and Flowers,» acrylic/canvas, 24x30 inch.,
n.d v «Oranges and Doves,» acrylic/canvas, 27x32 inch., 1983
v «Morena with Pamela,» acrylic/canvas 24x20 inch., 1983 v
«Sea Birds and Fishers,» acrylic/canvas, 40x60 inch., 1986 v
«Seascape,» acrylic/canvas, 30x40 inch., 1988 v «Landscape,»
acrylic/canvas, 40x36 in v «Two Houses Landscape with Several
Trees,» acrylic/canvas, 40x60 inch., 1988 v «Dove with Coffee
Plantation Bouquets,» acrylic/canvas, 40x60 inch., 1988 v
«Girl with Pamela and Dove,» acrylic/canvas, 30x40 inch., 1989
v «Mulatto Woman,» acrylic/canvas, 50x59 inch., 1989.
Shum Prats. (Santo Domingo, 1952). He graduated
from the School of Design and Decoration from the Uni-
versidad Nacional Pedro Henríquez Ureña, his work is
influenced by his relatives Antonio Prats-Ventós (father)
and Ramón Prats-Ventós (uncle), though he establishes
distance and differentiate from them. With prize won in
the Competition Casa de España (1976), he holds six sin-
gles between 1975 and 1980. He is considered a «Special
case» in the artistic generation to which he is associated,
his most renowned work recreates naïve images in plane
compositions with great chromatic neatness. It’s a paint-
ing stripped of drama, amiable, of serene beauty, intimate
and with a somewhat timeless atmosphere. Its architec-
tural themes are: streets with native houses, states with
furniture, fruits, gardens and hardly human presence; all
are just symbolic and inanimate. Although he deviated
with other productions, his affable work adheres to the
new local figuration, holding exhibitions with paintings
following this trend for years.
«From the Window, Garden and Houses,» acrylic/canvas,
400 cm., no date v «Chairs, Flowers and Oranges,» acrylic/
canvas, 152x101 cm., no date v «Plaza,» acrylic/canvas, 30x40
inch., n.d v «Child with Balloon Against Three Houses,» acryl-
ic/canvas, 40x30 inch., 1989.
Daniel Henríquez. (Santiago de los Caballeros,
1946/1996). He studied Law and Industrial Engineering
at the Universidad Católica Madre y Maestra, in his na-
tive city, where he is co-founder of the Group Friordano
with samples exhibitions from 1968-1972. In the latter
year he is selected for the Expo-New Image: 10 Avant-
garde’s Artists,» obtaining a painting award in the Casa
de España Competition, 1976. At the time, he lived in
Santo Domingo, where he was working as an engineer,
career that he leaves to become an art gallery owner or
dealer and to pursue his painting. His growing projection
is supported by countless individual exhibitions, his pres-
ence in domestic and international exhibitions.
In the Friordano exhibitions, he showcases paint-
ings of housings in small formats and simple designs. He
broadens his themes in 1976, influenced by Cuban Emil-
io Sánchez and Fernando Peña Defilló; influences that he
personalizes with the single theme of their Republican,
Victorian and native homes, holding exhibitions with
real references, using methods such as the use of mask-
ing tape, of templates and collage. Henríquez becomes a
pictorial builder of Dominican houses and villages with
planimetric compositions, neat colours, submerged in
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