Page 419 - Arte e Historia
P. 419
Art and History
at the Banco popular dominicano visual arts collection
Yuli Monción abandoned her profession as publicist related to the 60’s generation; and Ramiro Matos, who
to devote herself to drawing and painting, strengthened emerges in the 1970’s decade.
her training with courses and workshops in Santiago de
Cuba, which set the linguistic codes of an identifiable Antonio Prats-Ventós. (Barcelona, 1925/New York,
personal style. She arrived to synthesis between configu-
rations, geometry and abstraction. 1999). Sculptor formed by masters and workshops in
Santo Domingo. He is a master of himself and school
«Henri Matisse’ Lesson I,» oil/canvas, 75x100 cm., 2001 v counsellor of a great number of young sculptures. Recog-
«Henri Matisse Lesson II,» oil/canvas, 75x100 cm., 2001. nized by the national and the European critic, he face all
type of materials to conceive his sculptures on different
The Sculpture as a Subject styles, languages, technical procedures and proportions.
«With the gouge impulsed by the hammer, Antonio Prats-Ventós
Sculpture, as a concept, comes from the Greek terms took off the volumes and the wood, taking the forms suggested
«Sculpere» or «Sculpterum», referring to the act to sculpt by the material itself, interpreted by the artist’s creative hands».
or to carve a hard material as the stone or the wood. This is a María Ugarte testimony on her book «Prats-Ventos
The Greeks used the word «Plasso» that means to express, 1925-1999», edited by Banco Popular in 2001.
capture or modelling a soft material like clay, wax and
stucco. Both words, «Sculpere» and «Plasso» are used on «Black Mahogany,» carved wood, 87x20x81 cm., 1960 v
modern languages like the Italian, referring to all artis- «Abstraction,» carved wood, 18 inch high, no date v «Untitled,»
tic tridimensional representation, opposed to the one- sculpture in mahogany, 30x30 cm., no date v «Untitled,» sculp-
dimensional nature. Both representations are part of ture in polychromed mahogany, 129 cm. high, 1998 v «Menina,»
the spatial visual arts, since they occupy a physical space. sculpture in mahogany and paint, 170 cm. high, no date.
Despite the spatial condition, drawing, photography and
painting lack the tridimensionality of architecture and Luichi Martínez Richiez. (San Pedro de Macorís,
sculpture and their specific, solidity and volume related
to their nature and outward appearance. 1928/Santo Domingo, 2005). Considered the Domini-
can master who took the sculpting to its highest interna-
The sculpture’ tridimensional art is seen through all tional level. Some of his works are on the Paris’ Modern
the national history’ artistic manifestations been it plastic Art Museum permanent exhibition. He had 10 individu-
or visual, at the various collections treasuring Dominican al showings on the French capital. Several of his outdoor
art. The one owned by Banco Popular, posses a group of pieces stand in Santo Domingo and Seoul, South Korea.
sculptures that tell us about authorship, histories, Do- He won countless national and international awards and
minican identity, even preferential specifications on the took part on equally relevant collective events.
modern sculpting or wood craving.
«Untitled» Sculpture in mahogany, 245 cm., high., 1987 v
Six of our relevant sculptors, allow us a general «Untitled» Sculpture in mahogany, 29 cm., high., no date 25x19 cm.
overview of the spatial/tridimensional art present at «Organic vertical» Sculpture in mahogany, 197 cm., high., 1987.
the Banco Popular’s Collection. They are: Luichi Mar-
tínez Richiez and Antonio Prats-Ventós, linked to the Ramiro Matos. (Azua, 1977). He received formation
1940’s generation; Gaspar Mario Cruz, representative of
the 1950’s; Nicolás Jimenez and José Ramón Rotellini, from Antonio Prats-Ventós. He achieves the Third Prize
at the 1974 National Biennial, and the First Prize at the
XIV Biennial in 1979. Initially, he works craving on
wood on abstract style, later on he looks for industrial
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