Page 395 - Arte e Historia
P. 395
Art and History
at the Banco popular dominicano visual arts collection
variables both in the persistence of costumbristas scenes 1984 v «Market,» acrylic/canvas, 127x124 cm., 1984 v «Un-
and landscapes in their variety of themes: rural, marine titled,» oil/paper, 62x47 cm., no date v «Girl with flowers,»
and residential slums, rural hamlets, and urban build- media/ paper, 64x49 cm., no date.
ings. How far can one define the customs of the coun-
tryside? Only when loneliness is its characteristic, which Carlos Hidalgo. (Santiago Rodríguez, 1948). He stud-
happens when capturing the human subject that even if
it is not contextualized in a scene, is revealed by the racial ied at the National School of Fine Arts, earning drawing
and social condition. prize at the National Student Competition organized by
the Friordano Group in the University Madre y Maestra
Below is a discussion of those painters who work with (1969). He had his first solo exhibit in Gallery 7 (Santo
the internalizations of reality and who are not «avant- Domingo, 1975), and worked on murals for the National
garde,» but modern advocates of the tradition that many History Museum. He is associated with maestro Yoryi
critics and historians of arts called «genre painters» Morel’s atelier. He had his second solo exhibition at
Gallery Nader in 1984, as an exclusive artist under con-
1. Santiago’s presence. A group of paint- tract. Banco Popular collection has 44 of his authorship,
ers is linked to the Santiago school. Four of them: which reveal an agenda focusing on various views of the
Jacinto Domínguez, Hilario Rodríguez, Carlos Hi- country: rural, marine, popular and urban, finished with
dalgo and Juan Rodríguez, are associated with the attenuated bright ranges in a figurative style between cus-
Yoryi Academy and the fifth, Carlos Grullón, son tom scenes and lyrical realism.
of Mario Grullón. With Victor Chevalier, they are
the six individual that emerge at different times and «House of the Cord,» acrylic/canvas, 60x76 cm., 1981 v
with discursive signs that singularize them in a local «Market,» an oil/canvas, 20x25 cm., 1983 v «Town Street,»
relationship. an oil/canvas, 75x100 cm., 1983 v «Framboyán,» acrylic/can-
vas, 70x100 cm. v «Women Washing,» an oil/canvas, 75x106
Hilario Rodríguez. (Santiago, 1936/Santo Domingo, cm., 1986 v «Farmhouse Road, Riders and Large Mountain,» an
oil/canvas, 30x60 inch., 1991 v «Landscape,» an oil/canvas,
1987). After his first solo in the early 1970s, he has an- 75x101 cm., 1987 v «City Landscape,» an oil/canvas, 100x151
other four between 1981-1986 in various galleries in the cm., 1988 v «Beach Landscape,» an oil/canvas, 75x90 cm.,
capital city where he lives, creating murals and obtaining 1989 v «Landscape of Rain,» an oil/canvas, 75x90 cm., 1989 v
awards: First Prize in the Competition of Spain «Maja In- «Port of Macorís,» oil/canvas, 75x90 cm., 1989 v «Church of
ternational» (1979); third prize in the Centennial Com- Macorís,» oil/canvas, 100x27 cm., 1989 v «Night Landscape,»
petition of San Pedro de Macorís (1982) and an award oil/canvas, 101x125 cm., 1992 v «Party in the Countryside,»
in the Competition E. León Jimenes (1983). Generator oil/canvas, 75x101 cm., 1993 v «El Conde Street,» oil/canvas,
of different techniques for his drawings and paintings, 75x100 cm., 1999.
his style addresses both typifying scenic costumbrismo, and
photographic, scenic and surreal realism. Juan Rodríguez. (Santiago, 1938). Gets guidance
«Boy with Dog,» pastel/paper, 65x50 cm., 1981 v «Boy with from Guillo Pérez in the 1950s, following the example
Hat,» pastel/paper, 25x20 inch., 1981 v «Untitled,» acrylic/ of the teachers of the School of Santiago, especially
plywood, 75x60 cm., 1982 v «Moreno with hat,» media/paper, from Yoryi Morel, which explains his style so attached
63x47 cm., 1984 v «Farmer,» charcoal and wax/paper, 62x50 to the costumbrista scenes and landscape. Flamboyanes,
cm., no date v «Old Man with Pipe,» pastel/paper, 64x48 cm., plantations, ranches, and other rainy rural scenes and
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