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In his critique, Roberto Guevara reflects on the work of Venezuelan artist José Antonio Quintero, for his show at the Sala Mendoza (Caracas 1981). He states the painter voluntarily takes up the challenge of reevaluating the characteristics of urban and rural landscape in terms of representation. Guevara describes Quinter’s pictorial evolution in relation to figurative trends, with fantastical and symbolic elements, working in a pure and natural landscape characterized by sentiment and emotion. He also relates Quintero with van Gogh in terms of technique and color, and in his judgment, the work of the Venezuelan [artist] has an atmosphere that is deeper, more luminous, and transparent.


Roberto Guevara (1932–1998) was a poet, curator, and critic of Venezuelan art; [in this text] he reviews the work shown by painter and graphic designer José Antonio Quintero (b. 1946) at the Sala Mendoza (Caracas 1981). He argues that [Quintero’s] importance as an artist resides in his spontaneous revival of landscape painting; in other words, a return to the tradition of a genre forgotten by his contemporaries. This document also makes reference to other topics that are beyond Quintero’s landscape painting; this is the case with [the author’s] reinterpretation of the historical realist work Miranda en la Carraca [Miranda in Carraca Prison] by Arturo Michelena (1863–1898), as well as his use of bottles, which exalt the natural over everyday urban [items]. In this text the author offers arguments based on ideology, history, and emotion that support Quintero’s importance within the neo-landscape trend.


For another critical essay by Guevara on the work of the Venezuelan landscape painter, see the ICAA digital archive: “Quintero y el Ávila” [Quintero and Ávila] (doc. no. 1158104)].

Maria Virginia Pineda Aranda
Fundación Mercantil, Caracas, Venezuela
Roberto Guevara, 1981