REPOSO / REST - VIRGILIO TRÓMPIZ

Montura: Sin montura Framework: Frameless

Virgilio Trompiz VENEZUELA

B.1927

CODE VTVC301 –

D.2012

TITLE

SIZE (cm)

DATE / #/EDITION

TECHNIQUE

REST

94x71

2002 / 121/200

LITHOGRAPHY / HAND SIGNED

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CODE VTVC301

Virgilio Trompiz VENEZUELA

B.1927

–

D.2012

TITLE

SIZE (cm)

DATE / #/EDITION

TECHNIQUE

REST

94x71

2002 / 121/200

LITHOGRAPHY / HAND SIGNED

From 1940 to 1945 he studied at the School of Plastic and Applied Arts of Caracas.

Between 1942 and 1947 he exhibited in the special section of the Venezuelan Official Annual Art Exhibition, dedicated to the young students of the School of Plastic and Applied Arts. In 1945 he finished two fresco murals on the wall of one of the workshops of the school, these works were destroyed during the refurbishment process of the institution being director Francisco Narváez. In 1946, as a planner attached to the road section of the Ministry of Public Works, he drew the drawing corresponding to the Bejuma-Canoabo road section. In 1948 he is among the founding members of the Free Art Workshop; in this same year he joined as an illustrator of the magazine Tricolor where he remained until 1970. In 1954 he traveled to Italy, France and settled for a few months in Spain. From 1959 until 1972 he worked as a professor of engraving and painting at the School of Plastic and Applied Arts "Cristóbal Rojas". In 1966 he made illustrations for the work "Caracas 400 años" that appears the following year compiled for the record label Círculo Musical in 20 albums for one of which he painted Trómpiz his picture "Musical Evening during the Colony"

https://es.wikipedia.org/wiki/Virgilio_Tr%C3%B3mpiz https://www.youtube.com/watch?v=ZHYF-JNsvEA https://www.youtube.com/watch?v=6XOS3JLDnuo

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In 1979 the Corporación Venezolana de Guayana, together with the Durban Gallery, published the book Trómpiz: "... as a student of the Escuela de Artes Plásticas, it initially reflected the influence of Braque and Picasso's cubism, unlike his generation colleagues (Manaure, Navarro, Guevara Moreno, etc), did not travel the path of abstractionism and although he did not despise flat color, he felt, like Poleo in recent times, a predilection for the female figure set on decorative backgrounds where they play the harmonious coloring of a tropical scenery formed by fabrics, curtains and carpets In recent years Trómpiz used a more sensual and suggestive coloring, marking strong contrasts with chiaroscuro and approaching the luminosity of Armando Reverón's material, but with great care to limit its thematic repertoire to female figures

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