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Danilo De los Santos
the most diverse subjects of which he makes collections, 1988 v «Don Alejandro Grullón’s Portrait,» 64x49 cm., 1989 v
still life, floral motif and landscape in its abundant fea- «Don Mario Hernández’ Portrait,» oil/canvas, 64x49 cm., 1989 v
ture of impeccable personal speech style. «Rafael de León’s Portrait,» oil/canvas, 64x49 cm., 1989 v «Jaime
Benito’s Portrait,» oil/canvas, 64x49 cm., 1989 v «Women on
«Vase,» acrylic/canvas., 128x107 cm., 1981 v «Still Life,» the River,» oil/canvas, 65x80 cm., 1994 v «Still Life,» oil/canvas,
acrylic/canvas, 60x129 cm., 1991 v «Back To La Cañada,» oil/ 76x101 cm., 1995.
canvas, 68x111 cm., 1993.
Miguel De Moya. (La Vega, 1904/Santo Domingo, León Bosch. (Santo Domingo, 1936). Three of his
1996). Until his death, he developed a pictorial work works: «Still Life,» oil/canvas, 57x78 cm., 1987, «Mar-
where the peasant’s physiognomy, landscape and portrait ket,» oil/canvas, 169x120 cm., Implemented between
depiction respond to an exploratory realism with excel- 1973-1993, and «Landscape,» oil/canvas, 101x152 cm.,
lent results. His age did not discourage his artistic work, executed between 1985-1995, represent an attachment
attached to his lucid insightful realistic painting. to the academic realism affiliated with baroque by the
halo of timelessness that transpire his Dominicans
«Landscape,» oil/paper mache, 60x90 cm., 1982 v «Dusk,» subjects.
oil/canvas, 85x126 cm., 1982 v «Don Sosa’s Portrait,» oil/can-
vas, 60x44 cm., 1985 v «Coconuts,» oil/canvas, 60x44 cm., 1985
v «Toñito,» oil/canvas, 75x50 cm., 1985 v «Manolao,» acrylic/
canvas, 75x50 cm., 1987 v «Pedro Juan,» acrylic/canvas, 75x50 Alberto Bass. (Santo Domingo, 1949). He is the Do-
cm., 1987 v «Character,» acrylic/canvas, 69x94 cm., 1990 v
«Countryside Landscape,» oil/paper mache, 60x45 cm., 1992. minican head of photographic realism. His exemplary
work «Casita,» oil/canvas, 1978 «has been referred to as
Julio Llort. (Barcelona, 1937) After studying Fine Arts a painting of the bank collection, where other works are
located, one of a market, the others are landscapes, all
at the San José Academy in his hometown and specialize making a perfect collection.
in conservation and restoration of works of arts, in 1968
he moved to Santo Domingo, in his role as museolo- «Model Market,» mix/canvas, 71x101 cm., 1990 v «San
gist and restorer at the opening Gallery of Modern Art
(1976). Devoted himself to his specialty, just took time to Francisco de Macorís Landscape,» oil/canvas, 60x76 cm., 1996
become known as a painter, he held his first solo Domini-
can exhibition in 1982. His palette translated costumbrista v «River Landscape.» oil/canvas, 60x75 cm., 1996 v «Land-
matters not without a good grasp of the pictorial quali-
ties on topics that were adhering to a realistic collection scape,» oil/canvas, 60x95 cm., 1996 v «Queen Nab Veil,» oil/
of portrait commissioned that increases an academic re-
alist style, manifesting in his still lives and landscapes full canvas, 40x56 inch., 1992.
of objective and tropical serenity.
«Framboyán,» acrylic/canvas, 71x102 cm., 1978 v «Framboyán Luis Bretón. (San Francisco de Macorís, 1956). He
III,» oil/canvas, 76x101 cm., no date v «Untitled» oil/canvas,
60x90 cm., 1982 v «Sebastián Mera’s Portrait,» oil/canvas, 90x66 graduated from the School of Fine Arts in his hometown
cm., 1986 v «Don Alejandro Grullón’s Portrait,» oil/canvas, in 1969, initiating his collective exhibition history in over
90x73 cm., 1988 v «Luis Rangel’s Portrait,» oil/canvas, 92x74 cm., two hundred features over fourteen collective and per-
sonal exhibitions between 1981-2007. In the last referred
year he held «30s in Santiago,» at the Centro Español de
la Ciudad Corazón. His initial painting were landscapes
with alluding dreamlike with signs announcing his syn-
thesis of photorealism as a documentary source and
metaphysical atmosphere as mirage, solitude and silence
in his architectural constructions, villagers, urban areas.
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