Page 388 - Arte e Historia

Danilo De los Santos
Elsa Núnez. (B. 1943). Her works «Abstract,» mixed/
canvas, 76x100 cm., 1990, and «The Mysterious Seabed,»
acrylic/canvas, 125x125 cm., 198, are an abstractionist
and personalized formulation in style, language and over-
view. The painter «with the expressive power of her palette,
delves into the deep conceptual sea and mountain views and
defines a place textural and organic, mysterious and abstract. Master: artist, designer, teacher, writer, installer, manager
All are reinterpretations of the natural environment.»
«Abstract,» mix/canvas, 76x100 cm., 1990 v «The Mysteri-
ous Bottom of the Sea,» acrylic/canvas, 125x125 cm., 1987.
José Miura. (Santo Domingo, 1948). With a back-
ground in Visual Arts at the Escuela Massana of Barcelo-
na, in Fine Arts Circle and the School of Arts and Craft
in Madrid, he also took a course of art works restora-
tion in Mexico. He presented his first solo exhibition in
1973. Drafter, theatrical costume designer, set designer
and painter, he is credited with 15 samples in personal
features and important presence in collective exhibitions
inside and outside the native republic. «In the eighties
began his foray into geometric abstraction, predominant-
ly vertical in his work, contributing to Dominican art the
pictorial expression as ritual.
«Offerings,» mix/canvas, 76x101 cm., 1986 v «Major Of-
fering,» oil/canvas, 101x76 cm., no date.
Rosa Tavárez. (Santiago, 1937). After obtaining a teach-
er degree from ENBA, continues graduate studies in New
York (1972-1976), later studies lithography in Puerto Rico
(1979) and handcrafted design in Colombia in the past
year mentioned. She was the only female artist of Grupo
Reflejo with development between 1969-1970. Master of
printmaking as creation and education, she held eleven
individual exhibitions from 1975-1993, achieving several
distinctions within and outside her homeland. In paint-
ing and installation, she has showcased a work entitled
«Geometría herida (1994),» privileging the pictorial work
later characterized by a diffused color atmosphere, with
abstract or expressionist results.
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«Untitled,» acrylic/canvas, 75x101 cm., 1989 v «Visita-
dora,» acrylic/canvas, 60x75 cm., no date v «Composition,»
acrylic/canvas, 75x100 cm., 1989 v «Muse,» mix/canvas,
100x75 cm., 1995.
Ada Balcácer. (Santo Domingo, 1930). Diversified
and director of visual arts experiments, more than mural-
ist, its upward trajectory assumes many national themes
and feelings of outdoor spaces, which she spiritualizes as
abstractions very consistent with her clean and radiant
palette: her work «Miami 1985,» acrylic/canvas 101x132,
is an abstract blue and pink painting showcased in a
meeting with the city of the State of Florida on the date
indicated by the work’s title.
Antonio Guadalupe. (Moca, 1941). Initiated his artis-
tic training in his hometown, guided by Pontius Salcedo,
continuing at the National School of Fine Arts then,
with New York teachers upon moving to the city where
he holds his first solo exhibition. In 1968 he held his sec-
ond personal exhibition in his home country. After ad-
hering to abstraction, his production addresses a variety
of topics: harlequins, tilapia, popular altarpieces, Chris-
tology, and the Ozama, where geometrical solutions do
not exclude socially accentuated expressionist language,
sharp in the drawing and highlighted in the plot. First
prize for painting at the 1984 National Biennial. His in-
dividual and collective exhibitions are countless.
«Maternity,» oil/canvas, 51x41 cm., 1987.
Ramón Oviedo. (Barahona, 1924). He becomes a
well recognized expressionist when opening his mural
«Mamámerica» in the headquarters of the OAS (Washing-
ton DC 1982), also another large mural, «Evolution,» in
the headquarters of the Central Bank of the Dominican
Republic (1983). At the Museum of Modern Art, all floors
were occupied by six hundred paintings when he held his
retrospective in 1988. At the UNESCO headquarters he