Beginnings of a route through art

The landscape has been a source of privileged inspiration at the beginning of a national painting, and even more, it has been the first manifestation of authentic creativity. Paisaje banilejo, by Xavier Amiama; Landscape with lagoon, by Tuto Báez; and Landscape of the mouth of the Ozama River, by Luis Desangles; they illustrate that context still neo-romantic, but endowed with an undeniable poetry. 


They are fundamental works for beginnings that accentuate, with other landscapes, the rural and scarcely urban presence. The mestizo racial typology, an element that also allows recognition, accompanies them, a little more represented in previous versions, which also introduce the footprint of the National School of Fine Arts.

It is, without a doubt, the most concise nucleus of the exhibition, in the manner of a simple prologue? Santiago and the terroir triumph in the environment that follows. The seat corresponds to Yoryi Morel, national and nationalist, regional and regionalist master, projecting on the canvas or paper an aesthetic of his Cibao without him adopting the liberties of modern art, nor stagnate in a deliberately conservative process. Nature displays flaming flamboyants in its paintings, almost a pleonasm! - the leafy foliage, the park, the mountain range, the river, the road, one, two, three little houses ... And how the people live! Picturesque peasants and sensual mulatto women, industrious laundresses and laundresses, processions of devotees, festivals of music, dance and libations, are acts and touches of faith, inexhaustibly reinventing Morelian models, housed in their memory or captured in their morning walks. That impressionist Cibao-like Colson was a cubist Creole-could reach a vehement expressionism, incredible freedom, as in the piglet and back of a self-portrait scrutinizer.

But a just apology to Yoryi does not leave to forget that painter of the "Santiago inside", Federico Izquierdo, who, the more we look at his scenarios sheltered by the Cathedral, the more we are moved. That charming man of manners was a maker of images, rhyming rhythms with traditions, with an extraordinary transparency and quality of light. His painting combined craft and innocence! Now, practically in counterpoint to those works anchored in the tradition, Santiago still proposes a relatively large representation of the Friordano Group -name that comes from a lettering game with the acronyms of its members-, which corresponds to a period of groups of investigation and ideological discussion, and that fell within the scope of the Catholic University Madre y Maestra. The Fiordans, in search of originality and an open attitude, cried out for the promotion of art and for spirituality as a way of creative expression. Here we can highlight Danilo De los Santos, our art historian par excellence, and Daniel Henríquez, whose pictorial drama and whose factual research have not been properly evaluated. Then, for those who do not know the motivations of the group, only part of what is presented is valued and appreciated.

Taken from the book Eduardo León Jimenes Collection of Visual Arts Structure content projection transcendence.

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