Page 405 - Arte e Historia
P. 405
Art and History
at the Banco popular dominicano visual arts collection
instants, in the four tropical seasons that are different from like them, whose discourses and work also stay around
the non-Caribbean realities; forms and ranges as different the landscapes, but this is not the thematic production
and diverse as the regions of our insular and Dominican ge- binding them to the collection. Besides Avilés, Núñez,
ography. Furthermore, forms and ranges that, conjugated and Ricart, there are records of Rafael Amable, Dioni-
as icons, naturalist or imaginative and subjective scene, give sio de la Paz, Jesús Desangles, and Hilario Olivo. Enri-
us historical times. Starting by the pioneer painter Arturo quillo Rodríguez Amiama, Pedro Terreiro, Carlos San-
Grullón Julia, going through Abelardo Piñeyro, Celeste tos Durán, Luz Severino, Daniel Díaz, Inés Tolentino
Woss y Gil, Yoryi Morel and some other names, many of and Miguel Gómez, among others.
them subsequent to these, it is possible to have an idea of
the Dominican art, when we multiply the numbers of years Miguel Núñez. (Santo Domingo, 1959). His soft chro-
and generations we manage to count by the means of bio-
graphic documental records or concrete visual works. matic range fluctuates in a late impressionism of dancers
and water lilies, broaden and consolidated with the Santo
In the confluence we get to by the last XX century Domingo City focalizations. His exhibitions «A Loneliness
decade, we find artists’ names from the 1930s, like the Year» (1988), «A Year Later» (1990) and «The City of Ours»
veteran painter Federico Izquierdo, with a painting dated (1991), with colonial architecture, the capital inhabitants,
in 1999, or Yolanda Monción (Yuli) with a work record- street and parks with trees, are conjugated with a mix of
ed in 2001. In between these two generational represen- revival languages impregnated with real interpretations,
tations, there are great numbers of converging artists and feelings and attachment to the humanized landscape.
works. That is to say, there exist authors during the pe-
riod, with works dated since 1989 throughout 2001. The «The Cordón Gate,» acrylic/canvas, 85x75 cm., 1985 v
first cited date, allows us to approach the collection as a «Untitled,» acrylic/canvas, 146x121 cm., 1990 v «Untitled,»
culmination effect, starting not by the artists projected oil/canvas, 75x100 cm., 1995. «Sunday’s Afternoon,» oil/can-
since 1940 and so on until 1980, but inversely, seen the vas, 76x101 cm., 1995 v «A Sunny Day at the Park,» oil/can-
1980s’ generation as the initial focus. vas, 101x127 cm., n.d v «Woman Looking at the Ozama River,»
acrylic/canvas, 100x75 cm., 1997 v «The Grandmother,» oil/
1. THE «OCHENTISTAS.» During the 1990s, they canvas, 75x60 cm., 1994.
conform a generation that, although some of them were Dionisio De la Paz. (Mella, Pedernales Municipality,
mentioned before as related to the «interiorized land-
scape painting,» this is not an objective view to their 1951). Once he finished his basic studies in Pedernales,
themes in all the cases, but a mono-thematic cycle that he transferred to Santo Domingo and graduated from the
allowed them to get acceptance and an early attention by Graphic Design career and a major in Visual Arts and Su-
the critics. These are landscapes more related to school perior Education. This fact, allowed him to remain as a
styles, from which some of them depart with differenti- professor in the same institution. He was going to be soon
ated themes, as in the cases of Elvis Avilés, Juan Mayí a well-known painter, with five individual exhibitions
and Pedro Ricart. Miguel Núñez is the only one who from 1985-2001, numerous records in collectives and
keeps lineally the landscape focus, although approach- various awards in national competitions. His discourses
ing different and novel sunny urban spots, solitary or recreate the Silent Tropic, The Hurricane Winds, My-
crowded streets, during the 1990s. To the four paint- thology, Ecology the environment and the fauna. Such
ers already mentioned, are connected «Ochentistas» speeches are elaborated with images and chromatic con-
figurations skillfully created.
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