Page 391 - Arte e Historia

Art and History
at the Banco popular dominicano visual arts collection
10 solo exhibitions (1966-1986) holds the first one at
the Fine Arts Palace, in his native city. After adhering
to abstraction, constructionism and Pop Art, he assumes
the Dominican agenda focusing on the landscape with
soulful distortion on the expressionist form. The tree,
its trunk, the light, the river and the high ravine which
skirts the village Altos de Chavón is focused in his work
presented at Casa de Bastidas in 1987.
«Tropic The First,» oil/canvas, 76x36 cm., 1984 v «Teja-
maníes,» oil/canvas, 81x71 cm., 1985 v «Farmer’s House,» acrylic/ reencounter with academic, costumbrista and photography
canvas, 75x60 cm., 1986 v «Three Children,» oil/canvas, 105x126
cm., 1987 v «Tropic Series,» oil/canvas, 101x70 cm., 1989.
Bismarck Yermenos. (Salcedo c. 1940/Santo Do-
mingo, 2006). Trained as a doctor specializing in pae-
diatrics in the United States, he demonstrates artistic
vocation while studying composition and colour at Co-
lumbia University of New York when he was pursuing
graduate studies in medicine (1962). He holds a collec-
tive exhibition In Camp-High-Point (1964), and has his
first solo in Santo Domingo at the Dominican Medical
Association (1969), exhibit presented by Manuel Rueda
on which he states: «The pictorial art of Dr. Yermenos, full
of sensory sensation of an unknown world, has more revela-
tion than technical expertise. It is truly original about him.
More than just a cutting-edge art is a testimony…» (MR, BYC
catalog, February 1969). Subsequently, he holds indi-
vidual exhibitions in 1970 and 1981, by going to the
first sample of artists from Salcedo, to mark the cente-
nary of the provincial town. He won second prize for
«Opus I» In the X León Jimenes Art Contest (1983), a
neat and novel sculture-painting sparking controversy
among critics.
«Composition,» oil/canvas., 8x10 1981.
THIS OTHER REALISM
As a language of objectivity or somewhat credible,
constantly recurs in the arts with not absolute definitions
in its diversity. In the history of Dominican art, realistic
392
forms draw preferential linearity from artists precursors
of the nineteenth century, with natural depictions, ro-
mantic recreations and epochal portraits. The invention
and arrival of photography added a new way of captur-
ing reality, but in drawing, painting and sculpture it con-
tinued to be embraced by traditional visual arts since the
beginning of the century until 1970 and the consequential
1980s and 1990s. To see an entire historical guideline of
realism versus opposite languages, we should quote them
in the course of decades and understand it also as a parallel
discourse that offers encounter with realistic varieties. The
realism or «hyperrealism that is noted for its thematic se-
lection adapted to photography and its documentary au-
thenticity.» Contemporary realism is differentiated from
realism activated in the complaint, in the politicization or
idealized socialist realism based on the Leninist theory of
«reflection» that anticipates a future image of the entire
communist society. (Karin Thomas, p.172).
About the Dominican contemporary realism stage
from 1970-2000, the following relevant names are of-
fered: Alberto Bass, Luis Bretón, Julio Llork, Mariano
Eckert, Miguel de Moya, Hilario Rodríguez, Agustín Me-
sías, León Bosch, Jorge Checo. They are representatives
of five generations since 1950 although different one
from each other. Among them, there are veteran painters
considered masters.
Mariano Eckert. (Santiago, 1920/Washington, 2008).
With initial training at the National School of Fine Arts,
traveled to the United States, attending the Corcoran
School of Art, where he specializes in portrait. In that
school started teaching in 1954. Special Award 1958
National Biennial. Long after exposing in some United
States institutions, he begins his individual exhibitions
at Nader Gallery (1977-1983); exhibitions that acquire
a permanent pace by exposing each year in December,
Casa de Bastida, with the support of Voluntariado de las
Casas Reales. Master of academic realism that addresses