Page 379 - Arte e Historia
P. 379
Art and History
at the Banco popular dominicano visual arts collection
the desert landscape and an atmosphere of lunar magic, Adolfo Piantini. (Santo Domingo, 1946). He was ini-
sunny and an explosive sky full of flowers, resulting in a
great promoter of the new figuration. tially trained at the ENBA and the Academy of Gilberto
Hernández Ortega, later studied in New York at various
«Little Dominican House,» acrylic/canvas, 105x50 cm., art schools, establishing residence in the United States.
1980 v «Little Dominican House,» acrylic/canvas, 104x41 cm., Jeannette Miller states: «He begins exhibiting in 1966 and his
1981 v «Little Dominican House,» screen/paper, 83x60 cm., 1985 expressive language is channeled through shadowy images that
v «Little Dominican House,» screen/paper, 85x62 cm., 1985 v relate to his learning experience with Hernández Ortega and Elsa
«Little Dominican House,» acrylic/canvas, 75x100 cm., 1989. Núñez. Piantini himself recognizes that his pictorial work was
primarily impacted by a Renaissance influence, followed by a pe-
Amaya Salazar. (Santo Domingo, 1951). She starts riod of attraction for the Gothic to get to expressionism, and the
product of his encounter with Rowalt, to a new-fauvism. Then, he
her training at the Academy of Painter Julia de Guerra was impressed by the work of Fernando Peña Defilló, and started
(1979), continuing in the School of the Museum of Fine incorporating the characteristics of what is called new Dominican
Arts, Boston (1979-1980). She holds five solo exhibi- figuration (…). In his last solo in 1977, Piantini continues work-
tions from 1981-1985, showcasing four additional ones ing the Dominican image through a kind of monumental compo-
between 1987-1990, in Madrid, Bilbao, Milan and Santo sition reminiscent of Cándido Bidó’s proportions. (JM, History
Domingo. Her first exhibition established a highly per- of the Dominican Painting, 1979, pp.77-78).
sonal visual voice. The moderation of her various themes
offer a thinner chromatic composition, a conjugation be- Jorge Severino. (Puerto Plata, 1935). He received draw-
tween sfumato-light of daily eloquence and new figura-
tion. Critics appreciate a «beautiful style (…) a subjective ing training form maestro Arzeno Rafael at a school in
intimate universe» (Satur Abon), «reality becomes fantasy, his hometown, continuing his pictorial creation on his
perhaps articulating a better world» (Cesar Iván Feris). own, holding first solo exhibition in 1966. He gets paint-
ing awards in the IV León Jimenes Art Contest (1968)
«Untitled,» oil/canvas, 95x49 cm., 1982 v «Two Women,» and the XIII Biennial (1974). «The Lady» is the winning
Oil/canvas, 30x40 cm., no date v «Maternity,» oil/canvas, 40x50,» work, which poses a figurative style on black women high-
no date v «Couple,» acrylic/canvas, 100x75 cm., no date. lighted in white, individually targeted in his second indi-
vidual exhibition in 1978. Magic and myth are welcomed
Danicel/Danilo De los Santos. (Puerto Plata, 1942). in his works, among other matters that relate him to
Dominican Pop Art. But «Family Portraits,» presented at
He is trained in Santiago de los Caballeros where he Casa de Teatro (1981) and other related series from 1983-
does all his schooling, artistic and academic studies, co- 1986, are the ones which lead him to a formal imaginary
founded of the Group Friordano which emerged in the iconography, linking him to the new configuration.
Universidad Católica Madre y Maestra (1967), where he
obtains a Bachelor’s degree in Education and is linked as «Lady,» canvas print/paper, 35x26, 1985 v «The Bride,»
faculty and staff from various areas. In 1972, he holds a mix/canvas, 106x90 cm., 1985. «Untitled,» acrylic/canvas,
solo exhibition where he showcases the maroliano theme, 104x90 cm., 1993 v «The Bride 1,» acrylic/canvas, 101x91 cm.,
feminine, naive and black, which appears in various cy- 1994 v «Black Lady,» acrylic/canvas, 101x76 cm., 1995.
cles that are associated with the new configuration.
Thimo Pimentel. (Santo Domingo, 1941). Personality of
«Marola,» silkscreen/paper, 85x60 cm., 1985 v «Marola in
front of a Stained Glass,» oil/canvas, 126x101, 1989 v «Carni- many facets: doctor, artist, photographer, sculptor, painter,
val,» mix/paper, 74x109 cm., 1990.
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