Page 396 - Arte e Historia

Danilo De los Santos
other provincial topics are conjugated with a colorful
palette, clean and radiant.
«Landscape and Peasants,» acrylic/canvas, 35x45 inch.,
1985 v «Rain,» oil/canvas, 32x24 inch., 1988 v «Bower,» acryl-
ic/canvas, 24x30 inch., 1988 v «Tobacco Ranch,» oil/canvas,
24x32 inch., 1988 v «Landscape,» acrylic/canvas, 24x32 inch.,
no date v «Landscape, Car and Rain,» acrylic/canvas, 30x24
inch., 1990 v «Landscape with Peasant,» acrylic/canvas, 16x20
inch., 1990 v «Landscape with women,» acrylic/canvas, 24x30
inch., 1990 v «Landscape Palms,» acrylic/canvas, 16x20 inch.,
1990 v «Landscape with Women Washing,» acrylic/canvas,
16x20 inch., 1990 v «Landscape with Flamboyant and River
Washers,» acrylic/canvas, 24x30 inch., 1990 v «Night Land-
scape with Car,» acrylic/canvas, 20x16 inch., 1990.
Jacinto Domínguez. (Santiago, 1935). He attended
Yoryi Academy, while the master assumed a teaching
position at the National School of Fine Arts. There,
Domínguez became a professor, getting a marked influ-
ence from Vela Zanetti, among other teachers. Upon re-
turning to his native city, he was named professor at the
local campus of Fine Arts, without ceasing his pictorial
production with a formal style adhering to his regional
school from which he is one of the magisterial pillars.
With prize in the Competition E. León Jimenes 1970,
his discourse alternates objective figuration and that of
the structure that depicts Tropical Cubism. His first solo
is documented in 1983 after participating in major col-
lectives and entering his works in assets collecting.
«Market,» acrylic/canvas, 60x77 cm. v «Rural Landscape,»
acrylic/canvas, 60x75 cm., no date v «Framboyán,» acrylic/
canvas, 76x90 cm., 1986.
Carlos Mario Grullón. (Santiago. 1950). Showing artis-
tic talent from an early age, associated with his father, paint- 1984, followed by a good number of individual exhibitions
er Mario Grullón, studying various subjects since a young
age between 1970 and 1978, until he turns into a constant
painter exhibitor. In 1984, the critic Jeannette Miller high-
lights his clean execution with good handling of chromatic
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material, «balanced paintings that as scholarly works, are
good,» spotless (JM El Caribe, October 13, 1984). Carlos
Mario, as he is known, has participated in countless exhi-
bitions since that date, focusing on local houses, markets,
river washers, showers, being a noted landscape-painter
linked to the regional roots where he comes from.
«Landscape with Stream,» oil/canvas, 30x50 inch., 1997 v
«Conversation in the Neighborhood,» oil/canvas, no date.
Victor Chevalier. (Santiago 1951). After studying paint-
ing at the local school of Fine Arts, he participates in
collectives since the 1980s, traveling abroad latter on. En-
dowed landscapist, since the 1990s focuses with density
of impastos and contrasting planes of colour and varied
scenes: big dwellings, views of Santiago, marine scenes,
and other matters with Neo-Impressionist and Expres-
sionist technique, obtaining a unique acceptance among
gallery owners and the public.
«Landscape,» oil/canvas, 26x30 inch., 1990 v «Country-
side Landscape with Horse,» acrylic/canvas, 24x30 inch., no
date v «Landscape with Road and Women,» oil/canvas, 26x30
inch., 1990.
2. Moca’s presence. José Collado and Hugo
Matas are linked to Espaillat Province, not only by
birthplace, but for also embracing a bucolic discourse
that interprets the flatland landscape, countryside
and rural customs. The two trace a discursive path
extending from the 1980s to the present, with exhibi-
tion shows and the national attention of the critics.
José Collado. (Moca, Espaillat Province 1960). Trained at
the School of Fine Arts in his native town, he graduated in
1984 in Architectural Drawing by the Technological Uni-
versity of Santiago. He holds his first personal exhibition in
from 1985 to 2002, when he showcases «Silver Anniversary
with Art.» De Tolentino’s criticism considers him genuine
and sincere in his aesthetic character, conveying «the