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Danilo De los Santos
to Santo Domingo, showing, teaching and representing them «The Transfiguration of my dreams,» displayed
the country in world events. In 1986, at the Modern Art in his native city, in that year. In the exhibition, cata-
Museum, he delivers his speech «Earth’s Memoir,» which log historian and critic Carlos Dobal writes: «From the
left a sequel on another title: «Written portraits about outset, I note that these paintings of Daniel Henríquez
painted portraits». seem to represent vague dreams or inconsistent appear-
ances. The fabrics are veiled by unknowable reality, to
Highly weighted by local and international critics, the quote Ortega. All these works seem to have a «beauty
mentioned discourses are the result of an accumulation we feel» as Winckelmann thinks, but we cannot easily
of casted aside elements that determine, in the painter’s explain.»
version, a connotative poetic about the timeless reality,
about life as remembrance of identity, and as an evoca- «Dominican House,» acrylic/canvas, 103x78 cm., 1991.
tive speaker of the imagination’s ability. Between the real
data and the imaginary, there is a writing surreal halo; a Leopoldo Pérez (Lepe). (Santo Domingo, 1938). Re-
reality that is obviously dazed and magic at once.
fined painter distinguished, thoughtful and unhurried
«Composition I. Earth’s Memory Series,» mix/canvas, in his celebrated exhibitions «Lepe M + FM, I, FG,» in
76x104 cm., 1989. 1990, his twelfth personal sample. He holds the rank of
master twice, as an artist and as a teacher. Colleague Elsa
3. THE SESENTISTAS. These are Cándido Bidó, Nunez testifies: «Throughout his career Lepe has tried several
Elsa Núñez and Leopoldo Pérez, who integrated Group themes, such as landscapes, Christ, still life and animals, but
«The Three» in the 1990s, when they graduated from his concern for the human being has always been predominant.
the National School of Fine Arts. Later, they reassem- In that 1990 exhibition he offers a variety of themes: heads,
bled together to celebrate the brotherhood in the arts. Christ, cassava-makers, landscapes, lovers…»
It was the same with members of Friordano, whose
works produced from 1968-1971, formed retrospectives «The Cassava-maker Woman,» mixta/canvas, 101x76 cm.,
in 1980 and 1990. In the current XXI century, selec- 1990.
tions of their paintings are included in the art room
of the Centro Cultural Eduardo León Jimenes. The Danicel/Danilo De los Santos. (Puerto Plata, 1942).
Friordano group consisted of Friordano Torres, Orlan-
do Menicucci, Roberto Ceballos, Daniel Henríquez, With a record of numerous solo exhibitions between 1972
Danicel and Nonora Fondeur. Almost all of them, the and 1996, two in Ponce, Puerto Rico and in Petropolis Bra-
Friordano and «The Three,» maintain a current activ- zil. He participates in exhibitions and important national
ism going from the moment they emerged artistically collective, winning awards in National Biennials 1992
in the early 1960s, to exhibitions in the nineties, reach- (drawing and installation) and 1994 (Sculpture), regularly
ing this century. The same happens with other artists departs from his familiar maroliano theme to produce series
of the sixties generation whose works are in the bank and exceptional paintings on landscape themes, magic and
collection: Norberto Santana, Julio Susana, Justo Su- carnival, as the one in the bank collection designed for a
sana and Ramón Oviedo. Santiago’s carnival poster. Later, he held an small retrospec-
tive and, in the nineties, exhibits in Chicago, Laurence Mas-
Daniel Henríquez. (Santiago 1946-1996). Until sachusetts and Moscow, Russia. He works as a researcher,
art historian and exhibitions curator. He is been Jury in vari-
1991 the painter has recorded 16 solo shows, among ous international competitions.
«Carnival,» mixed media/paper, 74x109 cm., 1990.
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