REVIEWS

Laliii Aiiieric-a received new life-l)lood alreadv iiitent on addressing the and a inagiiiíircui lcgac\ ol arl and Iraditioiis and custonis of the Doniinican cnllni'P Ironi Spani.sh ai'tisl.s ¡n cxilc people faillifullv. and under a blhiding wliile ^iinnliancou.slv in S|)ain. llic Homaffe: light. In lilis exhibition, lour artisls voiingi-T genei'alion oí artisls was re|)resenl the mosl importanl currenls of orpliancd hv llic cxilc of llieir artislic Spanish Ártists the artistic panoraina whicli the Spanish and inti'llccnial role models. and leíl exiles woiild ha\e encoiintered on their rionndciing in llic cnllui'al incdidciily ol in Exile arrival. These artists mainlained no a eonntrv disnianded l.)v dcl'eal. By liiiks aiiiongst ihemselves, ñor were lliev

NoveiTiber 1939. almost 4()()() Spaniards assisled b\ the slightesl iiifraslnicture. liad arrivcd in dic Doniinican Repahlli-. After sludving at ihe presligious vet (o beconie Inllv awair (hat lliev had Acadeiii\- of Fine Art in Santiago de los f'led an inunincnl dictatorship oiilv lo (Caballeros aiid al ihe Arl Students fixile tjicniselves in au alreadv- sector considerable strengtii, and Leagne in .New Wnk. Celeste Woss estahlished one. Rafael Tnijillo contributed lo the definilive creation of (1891 - 1985) shul hevself away in her weicomed llieni loi' Iwo i'easons: firstly, a cultural and artistic iiifraslruclure. An studio in Sanio Doniingo. Here she out oí shanie and gnilt (and íhns as a excellent e.xliibitiou iii is painled llie couiUrv and its peojile. wav of cleansing llie stignia of now paving honiage to these artists. The despile liaving oiih limiled coiilact witli res]ionsibilitv for having ordered tlie exhibition is an initiative of Ana Tome. the outside world through the pupils of killing of almost 5000 Ilaiüans two Director of tlie Hispanic (Cultural (Jeuter her own prestigious acadeuu (in w liich vears previouslv), and secondlv, oul of a (Institute of International Clo-operation). several of the uew generation of painters need for larin lahorers to re-popnlale tlie whose energv, commilment and were Irained). Yoryi Morel (1906-1975) connlrvside. No-one knows if this first exteiisive knowledge liave made her, in a was a self-laught artist froni Santiago de objective was achieveil. huí llie seeond verv sliort space of time, one of the inain los Caballeros, whcre he was born and cerlainlv wasn'f. One vear afler tlie supporters of culture in Santo Domingo. spenl his life. inspired arrival of 3500 Spaniards. onlv aboul hi 1939., when the S|)aiiish panoramas of close-knil hamlets set

300 reniained in llie Doniinican political refugees arrived. the Dominican against nioiinlain ranges, as well as

Repiiblic, all of whoni were working nol Re|.)ublic was nol lacking in talent or country scenes fiill of charm and color, in llie fields. Iiul in the field of culture. noteworthv arlists, bul il is clear ihat .laime Colson (1901-1975). who is

Tliese arlists were nol establislied there was a lack of cohesión among considered lo fie lite fallier oí modern figures: tliev were young inen and these artisls. The founders of modern Dominican |.iainling, was a restless woinen whose careers had just begun. Doniinican painting, still active al tliat Iraveler who did nol relurn to ihe

Bul. ihev neverdieless carne as quite a lime (Celeste Woss, Yorvi Morel. .laime coiinirv uiitil 19,50, after the arrival of sliock lo llie sxslein and a calalysl for (lolsoii and Darío Siiro). liad alreadv the Spaniards. Darío Suro (born 1918), tile already-exisling artislic elenieiils in lakcn lile bold slep ol abandoning old- is ihe x'oungesl of the four. lie was the Doininican Rp|)iibl¡c. Bv actiiig as fasllioned acadeuiic painting in order to delermined to lileiid priniilive cullures cultural nioilitors. tliev gave the cultural refleci their environmeiit. Tliev were and inodernitN in his own incredibiy

CENIÍO AHANTICO DE AÜIE í-lOOERflO expressive sviUTclisni. I'^iitliciiiuirc. lie foundiug of the newspaper La Nación, 1042. He moved to New York in 19S1 was a (lisscnling voice, who expressed of which he was the editor. Vela Zanetti, lo teacli at llie prestigioiis .New Sí'liool of great reticeiice ahoiil llie i'onti'ibutioii in addition to playing an active role in Social Research, where he worked luacle bv the Spaniards, in liis book Arte tlie foiindalioii of the Escuela Nacional among manv other illustrious nien who

Dimiiiiicano. in whii-li lie states. llial (he de Bellas Artes in 1942, also adorned luid been forced iiUo exile. l'oreiiíii arlisis did iiol créale Doniiiüeaii the Doininicaii capital with Ijeaiitiful Of the four Catalans. two liave arl. iioi' can llieir art be ronsidered frescos and muráis (at the National already died: Alfonso Vila (also knowii

Doniiniean. l^ibrarv, Palace of .lustice and National as Sliuní) died in 1967, and .losé

If is liowever ti'ne, duit llie Bank). These works are still the pride of Gausachs in 1959. Shum, an anarehist

S|jani.sli opened cenlers of leaniin<í siich the citv. Manolo Pascual was the first born in Lérida in 1897, was iniprisoiied as llie Instilulo Colon (1');59) and llie prinei|)al of tlie Escuela Nacional de for several years and finallv |>ai'doned in

Instilulo l'Lscuela (l<)4l). Tliey also Bellas Artes, which was founded in 1924. A brilliant caricalurisl. lie arrived laiiglit al ihe Escuela Nacional de Bellas T 1 Artes, where Manolo Pascal (the C A Escuela s íirst principal), aloiig with .lose 177 (¡aiisachs. .lose Zanelti and Eugenio

(¡ranell. laid ihe ronndatioiis of inodern

Dominican painling. niiiral desigii and sculplure througli progressive and verv siiccessí'ul teachiug nu'lhods. The exhiliilion brings together ihe work ol exiles IVoiii Bilbao (Manolo Pascual).

Burgos (.losé \Cía Zanetti). C.atahinva

(SImni, .losé and Francisco Gausaclis and Antonio Prats Ventos) and Galicia

(Eugenio (irauell). I'.ugenio Orauell and

Vela Zauelli were laler lo reliiin to

Spain. where ihev liave contiiiued working and exhibiling willi siiccess.

Nevertheless, it is inleresling lo looU back lo ihe beginnings ol' their carecrs and to examine ihe iinpressive work which ihev cleveloped in llie country wliich adopled ihein. Oiauell was one of the h)iinding iiienilxMs of the jounial

L(i Poesía Sii!cii(li(l

Nacional de Bellas Arles, and to ihe .lainie Colson. l'iilillfd. 1<).Í(). Oil ciu earlúii piedra. 54 x 4.i <-Mi. ¡II Siiiilo Doininso willi his w ¡fe ;iiiil Iwo Fiaiic¡sco Caiisachs (liorii ¡n Prals Ventor, a scnl|)lor wltli au cliildicn. ¡111(1 was seiil lo l.;i \ ega as a ¡11 l')24) is llie son ol lile ahove- e.xtraordlnarx control o\cr lils luaterlals

íaniiiT. Sdoii aricrwards. lie wciit Ui incnUoiicd José (iausaclis, and was one (sloiie. uielal and wood) ¡s verv well-

México, wlicrc lie riMiiaiiied uiilil liis of llie r¡rsl piijiils ol' the Escuela ktiowii ¡n lite Doitúincan Repnhüc. Ihs dcalli. José (iaiisaclis was a Nacional de Bellas Arles. Todav. he scnlptiires can he seen ¡n sexeral ]iiil)l¡c coiisidcialili' paiiilrr. liiglilv rcganiod lectures al the Pedro Ileni'íi|iiez ¡nsl¡liilions and he has Irained a legión and of sli'oni; pcrsoiialilv. As can he secii Unlvei'sitv. The second reniainlni; ol' arli.sts.

¡11 Ins iiiiiiicidus |ia¡iil¡iii¡;s ('xli¡l)¡li'd iii (lalalaii ¡s tlie sciil|j1or Anloino Prals Jiist as ihe Spaniards liroiighi llieir llu- Bcllaparl collccUon. li¡s laiídscapes Venios (horn iii Barcelona ¡n 192.^). Europeaii arUsUc stvle lo ihelr ado|)l¡\c aic aliiios|)lirr¡i' rallicr lliaii purcly wlio arrlved \\¡lli li¡s laiinK al the age of countrv. llierehv contrlluiUiig ¡n soiiie drscr¡|i1¡\r and are. I'or llic iiiosl parí, 15. and tlien ahernaled sciilpliire wltli wa\ lo iiiodern¡l\. lite Irojili's allorded oiilsIaiuHiií;' and inicoincnnoiial feachiDg. Froni l'),5() lo 1008 lie (aiight lliein a new, exolic and extiljeranl wcirks. al llie Ksciiela Nacional ile Bellas Arles alinosphere. Tlus inixlnre gave r¡se lo an

riie ollicr Iwo (lalalaiis rcnuüii and liten moved lo the Pedro lleitríi|iiez art tlial is ne¡llier Doiniíncan ñor

¡lliisli¡oiis nicinhcrs ol' lodav s aí'llsdc I in\crs¡l\. w lieie he ¡s cin'renth lite Spaihsli. lint IrnK (iarlhhean. Il ¡s an art coniiniiiulv ¡n llii' Doiiiiincan HcpiihÜc. Itead ol' the De]:)arlnieiil oí Plástic Arts. ol greatlv expressi\(' lorins and hriglil and are llic Iriic ])i'olagoii¡sls of tlns Duriiifí llie roiind-lahle disciission. Iiolli colors. whlch ¡s sur|)ris¡iiglv relaled lo exhihitlon. lia\iiifí also pan¡c¡pal('d ¡n ol' tliese ¡niporlaiit figures sa¡d tliat ihev lile hvelv conleniporarv and post- aii iMiiol¡\(' i'oiind-lahlc d¡scnss¡oii. wcre ¡ndehied lo ilielr adopli\'e ciiiuilr\. inoderii art ol' todav s \iiiinir artists.

José Oausáchs. Moiitíiriíííí ele Moiiíscrraf. Olí Olí camas. ')2 X ll.")i-in.