Page 381 - Arte e Historia
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Art and History
at the Banco popular dominicano visual arts collection
Virgilio Méndez. After adhering to neo humanism composition tied to visible and covert geometric rules
encompasses names and figurative artworks with semi
linked to the portrait of black graceful women from low- figurations belonging to a core of artists: Roberto Flores,
income neighborhood, the painter showcases ladies with Soucy Pellerano Said Musa, Elsa Núñez, Leopoldo Pérez,
exotic and old-fashioned outfits and appearances: nice la- Dionisio Rodríguez, Norberto Santana, Alberto Ulloa…
dies focused as «portraits» removed from time, although in
a visionary fashion, associated with an illusory Antillean Soucy de Pellerano. (Santo Domingo, 1928). She
or Caribbean court.
receives in Puerto Plata her first artistic guidance
«Figure,» ink and watercolor/paper, 31x24 cm., 1984 v from Rafael Arzeno. Upon returning to her home-
«Figure,» ink and watercolor/paper, 31x24 cm., 1987 v «Black town she follows a professional career at the Univer-
Woman,» ink and watercolor/paper, 30x50 cm., no date v sity of Santo Domingo and receives guidance from
«Figure,» ink and watercolor/paper, 30x20 cm., no date v «Un- Rafael Pina Melero and Paul Giudicelli, completing
titled,» oil/canvas, 75x60 cm., no date v «The Lady of the training at ENBA, where she graduates in 1967. That
Songs,» screen/paper, 64x89 no date v «Great Lady,» media/ year she holds a first solo, showcasing another 14 per-
paper, 50x40 cm., no date v «Woman and Fish,» acrylic/canvas, sonal exhibitions until 1987. To this date, she has been
30x24 inch., no date. awarded several times at the León Jimenes Art Con-
test, and among many other honours, a prize in draw-
Barón Arias. (Santo Domingo, 1955). This Jaime Colson’ ing at the National Biennial 1972, appearing in «New
Image Expo: 10 Avant-garde artists.» As an artist, she
student customizes the neo humanist canon upon graduat- has been a woman of remarkable and versatile produc-
ing from the National School of Fine Arts in 1974. Years tivity. In her role as painter, some of her works inter-
later he held the first solo composed by fifteen drawings pret the industrial mechanical world, in compositions
(1976) and in subsequent years, 1977-1978, two other ex- full of schematic attractions and warm chromaticism
hibitions. He shares his time between New York and his that reveals a geometric accumulation.
hometown. In 1983, he achieves a drawing award from the
León Jimenes Art Contest makes evident an image of time- «Base UFUS J. L.,» oil/canvas, 24x30 inch., 1988.
less condition with its refined drawing with the ink pointil-
lism technique associated with similar works and a posterior Roberto Flores. (Santo Domingo, 1949). He studied
nucleus of paintings. In this nucleus, the thematic focus are
neighbourhood girls, absorbed and candid, of mulatto fea- at the National School of Fine Arts, where his principal
tures and dark skin, modelled in their drawn shapes and teachers were Pedro García Villena, Domingo Liz and Jai-
typified in the costumes and hairstyles in illusory contexts, me Colson, with whom he specializes in mural painting.
chromatically soft. Upon graduation in 1969 obtained first painting prize
from the school and an award in drawing at the León
«Girl in the Window,» acrylic/canvas, 27x34 inch., 1986 Jimenes Art Contest. In 1976 he featured his first solo
v «The Sisters,» acrylic/canvas, 34x27 inch., 1986 v «Girl,» and a second one in 1980. Together with Baron Arias
acrylic/canvas, 28x22 inch., 1992. held an exhibition in 1984. His works express nostalgia
in a yellowish vision of colonial houses like in the case of
other neo-humanist or proto-Corsians figurations, tend-
GEOMETRIC AND REMINISCENT ing to a reduction of determined images with geometric
FIGURATIONS patterns or neo-cubist tendency.
The memory of an earlier time, as a pre-romanticism
scene, visionary landscape and mastery icon; as pictorial
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