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Danilo De los Santos
«Abstraction,» acrylic/canvas, 76x114 cm., 1986 v «Com- Miguel Gómez. (Santo Domingo, 1954). He gradu-
position,» mix/canvas, 60x121 cm., 1987 v «Staring at the
Fauna,» acrylic/canvas, 75x100 cm., n.d v «Dreams on a Hid- ated from the Fine Arts National School and took part
den Paradise,» acrylic/canvas, 76x100 cm., 1991 v «From the of the first «ochentistas» generation collective exhibition
Tainismo Series» acrylic/canvas, 75x100 cm., 1991. (1983). Between 1984 and 1987, he held his first four in-
dividuals with great use of color, structured in geometri-
Jesús Desangles. (Santo Domingo, 1961). Initially, he cal fusions and usually around the dance theme as it is
the kettledrums’ party. While pointing out that Gómez
receives training at the relevant national painters work- has been an oneiric painter, De Tolentino also considers
shops between 1967 and 1973, when he enrols at the that he «goes ahead to combine three streams: impressionism-
Fine Arts National School, while taking part at collective expressionism-cubism, with some cubistic nuances.» (M.D.T.
exhibitions (1977-1985). His first individual exhibitions Listín Diario, 1986 Supplement).
turns him as an exclusive artist of Boinayel Gallery (1985-
1991). After receiving notorious recognitions at Cagnes «Original Half-Lights of a Family,» oil/canvas, 100x75
Sur-Mer (1987), Hoteles Barceló Competition (1992), cm., 1990 v «Human Persistence,» oil/canvas 125x201 cm.,
León Jimenes Competition (19..) and the National Bien- 1993 v «Popular Dancers,» acrylic/canvas, 101x127 cm., 1994
nial (19..) he is perceived as an artist of lineage, linked to v «From the Series Musicians,» oil/canvas, 75x100 cm., 1996 v
the great Caribbean modern oratories, related to a per- «Women,» mix/canvas, 100x75 cm., 1996.
sonal interpretative style about quotidian reality, magic
fauna and the popular subject. Juan Mayí. (San Francisco de Macorís, 1963). He is the
«Untitled» charcoal and wax/ paper, 85x54 cm., 1985 v «Un- author of «La muchacha de las trenzas,» acrylic canvas,
titled» mix/canvas, 151/125 cm., no date v «Characters,» mix/ 90x77 cm., no date. It is a portrait, perhaps imaginary.
canvas. 71x101 cm., 1989 v «Felines’ party,» oil/canvas, 150x100 If real, internalized with a lyric evocation. His chromatic
cm., 1990 v «Character,» acrylic/canvas, 69x94 cm., 1990. palette keeps relation with the painter’s landscape.
Enriquillo Rodríguez Amiama. (Santo Domingo, Rafael Amable. (Santo Domingo, 1958.) Draftsman
and painter formed at the Fine Arts National School.
1962). His early artistic formation starts at Nidia Serra’s Just after graduating, he held his first individual at Cen-
Art Centre, continues with the painters Silvano Lora, Al- tro de Arte Cándido Bidó in 1979. He participates in
berto Bass and Servio Fría, until he completed his edu- collective exhibitions and Competitions since 1980-
cation at the Fine Arts National School. As part of the 1990, and holds individuals at Casa Nouveaux and Casa
Generation Eighty, he held his first individual exhibition Bastidas in 1984, obtaining awards at the León Jimenes
in 1984, followed by four more in the 1986-1992 period. Painting Competition in 1990 and 1992, as well as draw-
He conjugates a visual discourse that speaks «from the fruits’ ing awards at the 1994’s XIX National Biennial.
image to the imagination fruits» as stated by Maríanne de
Tolentino, underlining «a balanced art of purity, quietness, «After Fishing,» serigraph /paper, 84x53 cm., 1985 v «Pigeons
theme that is not disturbing, nor worrisome, according to Henri and Canes,» acrylic/canvas, 40x30 cm., 1987 v «The Owl Swing
Matisse.» (M de Tolentino, text. December 2nd, 1993). on Full Moon,» acrylic/canvas, 145x125 cm., 1995.
«Caribbean Island,» acrylic/canvas, 76x100 cm., 1993 v Elvis Avilés. (Santo Domingo, 1964). After his land-
«On the High,» oil/canvas, 151x100 cm., 1993 v «From the
Romantic Theme Series,» mix/canvas, 76x101 cm., 1994. scapes discourses with photorealistic connection, his per-
sonal oratories from 1990 on are takes of urban walls
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