Page 385 - Arte e Historia

Art and History
at the Banco popular dominicano visual arts collection
recreation of playful and surreal aspects, in a figurative
and narrative atmosphere.
«Circus Acrobats,» acrylic/canvas, 39x40 cm., 1988.
Luichy Martínez Richiez. (San Pedro de Ma-
corís, 1926/Santo Domingo, 2005). Associated with
the first promotion of National School of Fine Arts,
holds her first solo in 1949, expanding her training
in Argentina and France. She establishes home in
France, often returning to the country, featuring solo
exhibits and participating in competitions that reward
her sculptures. Three-dimensional, draftswoman and
painter artist, settled permanently in Santo Domingo
in 1981. Her visual references conceptualize aspects
of the island reality, leading to a surreal production
where eroticism is the sign, even in her paintings
where female corporeality/mulatto responds to an
implausible imaginary.
«Bather,» acrylic/canvas, 75x43 cm., 1987 v «Untitled,»
acrylic/canvas, 86x51 cm., 1992 v «Untitled,» acrylic/canvas,
152x100 cm., 1995 v «Figure (Bust),» acrylic/canvas, 40x60
inch., 1998.
Teté Marella. She is considered to be Dominican due
to her four decades of artistic devotion and residency
in the country, she takes on a leading role in indi-
vidual and collective exhibitions. Between 1984-1997,
displays her production visually shaping her history of
individual, family and female myths, starring «dreamy
and compelling ladies in their immensity and ingenuity (…)
with gestures oscillating between the real, the apparent, the
marvelous and the absurd. Marella usually brings in new
elements of a universe imbued in both playful and dreamlike
nature in each exhibition…» (Myrna Guerrero, El Caribe,
May 17, 1997).
«Composition,» acrylic/canvas, 40x50 cm., 1980 v «Over-
ture in bicicios,» media/paper, 69x53 cm., 1987 v «Fat Wom-
an,» screen/paper, 85x60 cm., no date v «Untitled,» oil/paper, the everyday life of local space. In this equation between the
69x53 cm., no date.
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Thelma de Lora. (Santiago, 1932). Her training is
linked to Gaby Lichart (Brazilian) and Rosa Idalia García
(from Santiago). She obtains a drawing award in the con-
test León Jimenes (1971), holding a cozy production with
fickle exhibition records until she held an individual at
Casa de Arte (Santiago, 1988). Later she features in Jacinto
Domínguez (1990) and was selected to exhibit in the Do-
minican painters collective at the Art Gallery of the OAS
(Washington DC 1991). With different linguistic and the-
matic twists, ends with an amplitude of surrealist visions
alluding to ecology and the affective imagination.
«The Machine,» acrylic/canvas, 45x60 inch., 1990 v «And
Peace Settled over Me,» acrylic/canvas, 29x41 inch., 1989 v
«With Me in the Deep,» acrylic/canvas, 41x30 inch., 1989.
Dionisio Blanco. (San Cristóbal, 1953). Studied at
the National School of Fine Arts, presented his first
solo in 1978, which won first drawing prize at the XVI
National Visual Arts Biennial. Draftsman and painter,
assumes the role of art critic and university professor,
and in this century is dedicated to the sculptural cre-
ation. Between 1984 and 1990 held five other solo ex-
hibitions, two in New York and the third in Vermont,
where he enjoyed art residency scholarship. With a
presence in collective exhibitions inside and outside the
home country, he enjoys international critical prestige.
Fernando Vargas, addressing the topic «Topography for
a Phantom Field,» argues: It is well known that the great-
est influence on Dominican surrealist painting comes, no
doubt, from Salvador Dalí. However, in recent years has ap-
peared a renewal of the surreal mythical decorated through a
new strategy. This new reality empowerment arises under the
apparent incarnation of the representation of the similarity
between the painted world and its own update. Moved by this
dialectic is emerging a figurative instinctual space immersed
in the roots of the playful touched by the «unreal world. «This
new code has been supported by the dreamlike immersion in
strength of the new figuration Dionisio Blanco’s work (…)