Antonio Romoleroux

From Wikitia
Jump to navigation Jump to search
Antonio Romoleroux
Add a Photo
Born1968
Quito
NationalityEcuadorian
CitizenshipEcuador
Alma materCentral University
Occupation
  • Painter
  • Engraver
  • Sculptor
  • Draftsman

Antonio Romoleroux and his testimonial work "A message from models to humanity". September 2020. Antonio Romoleroux (Quito, 1968) Ecuadorian painter, engraver, sculptor and draftsman. He has dabbled in abstractionism, figurativeism and psychological or sociological realism, being the latter an original approach of his own creation. He is recognized as the inventor of art techniques such as oil painting on intagliated paper [1], and the smelting of handmade paper made from abaca fibers - of his own manufacture - with etched and aquatint engraved copper welded with silver solder in large formats [2], which is the basis of his abstractionist work that balances painting, sculpture and metal engraving [3][4]. Winner of the 1995 Mariano Aguilera Unique Painting Award[5] among others.

Romoleroux's work has been described as the result of processes of redefinition of a complex and aesthetic nomadism, insofar as it moves from sculpture to the aforementioned techniques through which his art pieces encompass human defenselessness and torment (fear, anger, intolerance) at the very beginning of his career, and which progressively represent nature, collective identity and the subjective need to signify the core of planetary consciusness. These contents integrate myth, the circular notion of time, ancestral memory and experiences of human resilience. His most recent works portrait nude models and integrate the testimony of the models themselves as part of the composition. [6] [7] [8] [9] [10]

He is considered an “artist who unceasingly multiplies semiotic fusions of extremes of the human nature”, [11] who has designed his own syntax whose conceptual support is strongly based on thorough research [12]; his work has been described as a metaphor for the relationship between knowledge and art creation, the rational and the spiritual, and between the individual and the collective [13]. Critics agree that his work does not fit into a known classification, which is why Romoleroux is considered to occupy a prominent position in Ecuadorian art. [14] [15] [16] [17] [18]

Biography

Antonio Romoleroux began his artistic career at a very young age, although his work in drawing and painting was already present early during his childhood, when he was only eight. At the age of 17, he started at the College of Arts of the Central University of Ecuador; before his studies were finished, at the age of 19, Antonio obtained a Certificate of Excellence in the XLV National Engraving Contest of the Municipality of Quito in 1987, for an etching. [19] This recognition was the reason for being summoned to work at Maestro Oswaldo Guayasamín’s workshop, where Romoleroux investigated every kind of engraving techniques for two years; during this period he developed techniques of his own of etching, aquatint, soft varnish, dry point, screen printing, and lithography on stone and zinc. At the same time, he consolidated his own method of research and creation of painting and sculpture techniques.

In 1989 he held his first painting solo exhibition with the series "Systemic Identities", in which he developed the concept of psychological realism (called sociological realism by Rodríguez Castelo), [20] which lays the foundations of Romoleroux’s quest for the meaning of human pain and paths of deliverance that can be observed in his entire work, along with the feminine issue. [21]

His "Latrina’s" obtained a Certificate of Excellence in the national engraving contest of the Ecuadorian House of Culture "Benjamín Carrión", in 1990. The next year, Romoleroux once again obtained a Certificate of Excellence with his serigraphy "In the place where one finds God", in the National Engraving Award of the Municipality of Quito and in 1998’s edition of the samen prize, his work obtained second place.

In 1991 he obtained the first prize in painting awarded by the Undersecretariat of Culture, the National Youth Directorate and the Ministry of Social Welfare, for the oil painting “Woman reading and flying”. (That same year, his son Iaco (Yaku) was born while Chaquira, his daughter, came four years later).

Romoleroux has worked on sculpture in marble and developed an oil painting technique on intagliated paper. He carried out research with handmade paper and created the technique of casting handmade paper from abaca fibers with copper etched and aquatint and welded with silver solder in large formats (some works measure 6x2 meters). With this technique he produced the abstract work "Natem" under the concept of inversion of the sense of feminine fragility (paper-east) and masculine strength (metal-west) where it is the paper that contains and supports the piece of copper, same in which ceremonial signs of sacred animals of the ancestral peoples of the Ecuadorian Amazon are engraved, which received in 1995, the first prize in painting Mariano Aguilera.

In 1996 he obtained the honorable mention at the V International Biennial of Painting in Cuenca, with the work "No te rindas" (en: Do not surrender), a work of handmade paper and copper engraved in a 200x200 cm format. Antonio Romoleroux (left) with President of Codelco (mid) and Ecuadorian Ambassador in Chile (right), Codelco, 2010. Santiago, Chile. Romoleroux was facilitator of the silkscreen workshops sponsored by the British Embassy in 1994. He also taught visual arts classes in sign language to children with hearing loss at the Edgar Palacios Cultural Foundation in 2001.

In 2010, his work toured Chile and the United States.

As a result of several personal experiences, in 2013, Romoleroux began a search for testimonies of resilience, a psycological concept which supports his most recent series; his findings on the matter reflect in the early series "The Conscious Self" and set a path for the next endeavour, “El mensaje de las modelos a la humanidad”, an ongoing project.

Romoleroux served as a curator in several exhibitions: 2014, "Cuerpografías" (en: Bodygraphs) by Carolina Salamea at Cafélibro; 2016, curatorial support and presentation of "La ciudad y el yo" (en: City and the Self) by Irene Cazar at Sara Palacios Gallery, Nayón[22]; 2017, introduction of "3plus2, tres fotógrafos y dos escultoras alemanes" (en: 3plus2, three photographers and two German sculptors) at Humboldt Association, [23]; "Sobre puestos" (en:On Stalls) by Tracy Caldwell at Pentasiete Gallery; and 2019, "Bifurcaciones" by Xavier Medina at Humboldt Association. He has also lectured on resilience and art to higher education and public audiences.

In 2020 he created “Arte Contemporáneo, Escuela de Artes Visuales” (en: Contemprorary Arts, Visual Arts School) with online and face-to-face modalities, for the teaching of the arts, as a result of the restrictions during COVID 19 pandemic.

Artistic career

He studied the art of metal engraving, stone and zinc lithography and serigraphy at the GrafiK, Estampería Quiteña, and Fundación Guayasamín workshops. His career gained notoriety with the publication of few of his drawings in the magazine "La Liebre Ilustrada" and with his first participation in a collective exhibition of engraving at the gallery "San Sebastián" in Quito.[24]

He has held 36 individual exhibitions and more than 120 group exhibitions in various Latin American, North American and European countries; among the most important exhibitions are: "Antología" (en: Anthology) at the PUCE Cultural Center in Quito; "Dass Bewusste Ich" (en: The Concsious Self), Embassy of Ecuador in Berlin; "Amazonía y Spondylys" (en:Amazonia and Spondylus), Queens Art Museum in New York.

His works are exhibited in museums and galleries in a number of countries, like: Diners Club, Museo del Banco Central del Ecuador and Centro de Arte Contemporáneo in Quito, Providencia Cultural Institute in Chile, Ojo Latino and Benetton in Italy, Kumstraum Artescena in Germany, Gloucestershire printmaking co-operative in the United Kingdom, and Art Nexus Foundation in the United States, among others. Award winning work "Natem", Series "Mi esencia en tus sentidos", handmade abac paper and copper engraving, 200x150 cm. Mariano Aguilera Award, 1995.

His work "Natem", awarded with Mariano Aguilera Prize in 1995, was cataloged as Cultural Heritage of Ecuador.[25] He participated in the First Pan-Amazonian Arts Hall in Manaus, with "La Naturaleza y el Yo", an oil painting on intaglio in which he received honorable mention (excellence certificate). In 2013, Romoleroux exhibited “Hijas de Lilith” at the Sara Palacios Gallery, a series which focuses on women's rights. With this same approach, in 2014 he exhibited “I love myself” at the Kumstraum Artescena gallery, in Leipzig, Germany; and in 2015, “Das bewusste Ich” at the Ecuadorian embassy in Berlin, as well as at the Humboldt Association in Quito, and published the visual and testimonial portraits of resilient people in a book with the same title.

In 2018, he exhibited his series of nudes "El mensaje de las modelos a la humanidad" that captures, for the first time in Western visual art, the thought and feeling of art models who become the spokespersons for silenced beings. [26] Romoleroux’s work commitment to human rights and resilience -which has recently been acknowledge- [27] inspired these drawings, and also inspired the autor to participate in charity auctions for various causes (protection of cultural organizations, a geobotanical reserve, victims of the 2016 huge earthquake in Manabí-Ecuador, girls who are victims of abandonment and sexual abuse, and on behalf of medical professionals struggling with COVID 19.[28] [29] [30]

Romoleroux's work has been studied by critics and referred to in the New Critical Dictionary of Plastic Artists of Ecuador, by Hernán Rodríguez Castelo. Academics and critics such as Inés M. Flores, Hernán Pacurucuy and Mónica Vorbeck have documented his artistic development and trajectory.[31][32][33]

Synthesis of his work

The artist's major work is divided into series, some of which began production in the last decade of the 20th century. "Depresión", Series "Identidades sistémicas", oil on canvas, 180 x 140 cm. 1990.

Series "Identidades sistémicas” (Systemic Identities) 1987 - 1989

Drawings, paintings and engravings that show a wide emotional spectrum of what’s human, through which depression, anguish, impotence, intolerance, anger and fear are portrayed. This work is the first stage of the artist's creation, whose psychological content shows phenomena that would be discussed more than twenty years later in the context of his native country. With this work he made his first individual exhibition, at the age of 21. The painting entitled "Depression" was censored for exposing the phenomenon of childhood suicide.

Among the winning works in this series, “Latrina’s” stands out as a serigraphy that denunciated corruption in society.[34]

Series “Amazonía Espiritual” (en: Spiritual Amazon) 1993 - to date

This series introduces his technique of oil painting on (both paper and canvas) intaglio; the intaglio pieces have been highlighted by the quality of the technical execution, the concept that evokes the ancestral memory of Ecuador, and a message that has been described as universal.[35] [36]

Along with the intagios, the set of works in this series include marble sculpture, painting and engraving based on a concept inspired in Amazonian semiotics: the signs engraved on metal are inspired by the stylized facial pictography of ancestral peoples of the Amazon and represent jaguar, anaconda and frog, sacred animals to the Siona and Secoya peoples.

Critics have stated that, at first, the creative process for this series was seemingly guided by random and spontaneous, empirism and included ornamental elements that appeared to be addressed to mass audiences.[37] [38] This statement contrasts with the presence of ancestral memory, vestiges of the spiritual and human creativity’s ancient origin that another part of the critique finds in this work.[39] [40] "La Naturaleza y el Yo", series " Amazonía Espiritual", oil on canvas, 70 x 50 cm.

In 2020, the latter work in this series has taken up the Amazonian signs again through a combined technique of hand drawing, photography, digital painting and cotton paper print in medium format. The works "Selva ancestral" (en: Ancestral Jungle) and "Soberanía amazónica" (en: Amazonian Sovereignty) were part of Tullpukuna collection and traveling exhibition. "Niño huaorani cubista" (en: Cubist huaorani child), Serie "PIel de selvla", oil on canvas, 95 x 70 cm, 2004.

Series “Piel de selva” (en: Jungle skin) 1996 – 2010

A number of naturalist portraits made in drawing and painting in small, medium and large formats. The Amazon rainforest and its inhabitants or people devoted to its protection and defense against deforestation and predation are the core concept of the pieces. [41] [42]

The aim of the series is based on "bringing the jungle to the city instead of taking the city to the jungle, in the context of contemporary art" .[43] [44]

Series “Mi esencia en tus sentidos” (en: My essence in your senses)1993 – to date

The complexity and accomplishment in this series (to which "Natem", 1995 Mariano Aguilera Prize belongs) are both critic’s objects of study in the Ecuadorian sphere. In addition to the award-winning work, “Mujeres del alma” is highlighted due to the manufacturing of its support and the execution of the so-called neo-expressionist images portrayed [45] . The pieces of the entire series are of handmade abaca fiber paper and cast with etched copper. The signs on the metal symbolize wisdom, harmony and health perceived and conveyed by the artist as the essence of nature.

Copper is representing the industrial city and its stressful tempo. According to the artist himself, although paper symbolizes fragility, and metal stands for strength, it is the paper that supports and contains metal, which means that frailty actually turns into strengths. As for the semiotics engraved on copper, it is the result of the stylization of the ceremonial signs used by various Amazonian cultures still today. Paper represents East Asia, metal symbolizes the West, while the ceremonial signs stand for South America. In the evolution of this series, other molten materials can be found held by paper, in addition to copper, such as spondylus shells, small hammer heads and even quartz crystals. [46][47] Details of "Jaguares del Yasuní" (en: Yasuní jaguars), Series "Mi esencia en tus sentidos", handmade paper with copper engraving. Critic Inés M. Flores notes that in the work of this series there is a relationship between metaphorical and allegorical; not as a story, but as fragmentary but coherent data, which offer us clues for reflection on existences that for the viewer are exotic. The signs and symbols that he uses perhaps they say things that beyond the environment to which they belong it is not even possible to imagine ... the sign does not arrive here at the real representation of its contents but is articulated with the traditions of the ethnic groups that use them Inés M. Flores, The work of Antonio Romoleroux[48]}}

Series “El Yo consciente” (en: The conscious Self) 2013 - 2015

Described as interdisciplinary, the pieces within this series consist of visual and testimonial portraits of resilient people from different generations, socioeconomic strata, and cultural backgrounds who recount their experiences of resilience, The latter is a concept that was practically unknown by the time in the artist's country of origin.[49] The testimonies complement the photographic portraits with the description of the adversities that the protagonists experienced, how they learned about their inner strength by overcoming them.[50][51] Ecuador, Chile and the United States were the countries visited to bring aobut this work.

Series “El mensaje de las modelos a la Humanidad” (A message from models to Humanity) 2016 - to date

This testimonial work is proposed as a space for the models themselves to express their essence, answering the question "what is your message to humanity?" "Luna", Series "A message from models to humanity", graphite, 42 x 30 cm. 2017. Each drawing captures the thoughts and feelings of the women portrayed: their answer to the question is written under and around the drawings, symbolizing the consciousness of the models.

The concept of the series is to modify the reality of Western art, for which only the body and face of the models have been studied, solely from an anatomical perspective.[52] "El yo consciente" book cover, 2013.

Books published by the artist

  • Romoleroux, A. (2007), Antonio Romoleroux, Quito: s.e. [53]
  • Romoleroux, A. (2014). El Yo Consciente. Quito: s.e.
  • Romoleroux, A. (2018). Antonio Romoleroux antológico. Quito: s.e. [54]

Acknowledgments

During his professional career he has received the following awards and acknowledgments:

Awards and acknowledgments Work Date
Dr. Vicente Rocafuerte Award for Artistic Merit awarded by the National Assembly of Ecuador [55] Career 2020
Endorsement by House of Ecuadorian Culture "Benjamín Carrión" Quito Career 2020
Acknowledgment to artistic career, Ministry of Culture and Heritage. Ecuador [56] Career 2019
Acknowledgment to artistic career, Guayasamín Foundation. Ecuador Career 2018
Acknowledgment to artistic career, Centro Cultural de la Pontificia Universidad Católica de Quito Career 2018
Acknowledgment to artistic career, Artescena, Kunstraum, Leipzig, Germany Career 2018
Acknowledgment to artistic career, Humboldt Association, Quito Career 2018
Acknowledgment to artistic career, Sara Palacios Gallery, Nayón - Quito Career 2018
Acknowledgment to artistic career, Fidal Foundation, Quito Career 2018
Honorable mention (Excellence certificate) First Pan-Amazon Hall of Arts Manaos. Brazil [57] La naturaleza y el Yo (en: Nature and the Self) 2016
Honorable mention (Excellence certificate)

V International Biennial of Painting Cuenca Ecuador [58] [59]

No te rindas (en: Do not surrender) 1996
First Prize in Painting Mariano Aguilera [60] Natem 1995
First prize, in painting, First Youth Art Show. Undersecretary of Culture, National Directorate of Youth and Ministry of Social Welfare.[61] Mujer leyendo y volando (en: Woman reading and flying) 1991
Second honorable mention, engraving. XVIII National Engraving Contest. Drawing, Watercolor, Tempera and Engraving Room. Municipality of Quito, Ecuador. [62] En el lugar en donde uno encuentra a Dios (en: That place where one finds God) 1991
Honorable Mention National Contest of Engraving, House of Ecuadorian Culture. Ecuador. [63] Letrina’s (en: Latrine's) 1990
Second prize, XV National Engraving Contest. Quito. [64][65] Sin título (en: Untitled) 1988
Honorable Mention, XLV National Engraving Contest Quito. [66] Sin título (en: Untitled) 1987

References

  1. ↑ Rodríguez, M. A., 2018. Antonio Romoleroux y sus búsquedas. En: Antonio Romoleroux antológico. Quito: A. Romoleroux, pp. 114 (6-11)
  2. ↑ Rodríguez Castelo, H., 2007. Antonio Romoleroux. En: H. Rodríguez Castelo, ed. Nuevo diccionario crítico de artistas plásticos del Ecuador del siglo XX. Quito(Pichincha): Activa Editorial (impresión), pp. 769 (568-570)
  3. ↑ Pazos Barrera, J., 2007-2008. Antonio Romoleroux: desde el ojo del observador. El Búho, Issue 24, pp. 146 (58-61)
  4. ↑ Vorbeck, M., 1996. Antonio Romoleroux. Diners 170, Issue 170, pp. (57-59)
  5. ↑ Municipio del Distrito Metropolitano de Quito, 2010. Antonio Romoleoux - Natem 1995. En: Mariano Retro Catálogo 91 años del Salón Mariano Aguilera. Quito(Pichincha): FONSAL, p. 107 (63; 105) - http://www.premiomarianoaguilera.gob.ec/catalgo-mariano-retro/?lang=en
  6. ↑ Pacurucu, H., 2020. Antonio Romoleroux - El poder para transformar el mundo. Estado&Comunes, enero, 1(10), pp. (183-196)
  7. ↑ Estrella, F. X., 2005. Antonio Romoleroux: hay que traer la selva a la ciudad. Dolce Vita - Bugatti, Issue 14, pp. 84 (80-83)
  8. ↑ Mango, 1998. Sueños Propios. Mango, pp. (25-27).
  9. ↑ Espinosa Ordóñez, L. S., 2000. Romoleroux: Temer - poder. Miti Miti, septiembre, Issue 3, pp. (18-19)
  10. ↑ Imago Mundi / Luciano Benetton Collection, 2016. La voz de las modelos / the voice of models / la voce delle modelle. En: I. M. /. L. B. Collection, ed. Ecuador: light of Time Contemporary artists from Ecuador. Antiga: Antiga Edizioni, pp. 346 (244-245 y 323)
  11. ↑ Rodríguez Castelo, H., 2007. Antonio Romoleroux. En: H. Rodríguez Castelo, ed. Nuevo diccionario crítico de artistas plásticos del Ecuador del siglo XX. Quito(Pichincha): Activa Editorial (impresión), pp. 769 (568-570)
  12. ↑ Pérez, T., 1999. La obra de Antonio Romoleroux - texto curatorial de exposición individual Sueños propios -. Quito: Diners/IMDMQ/CCE
  13. ↑ Ministerio de Relaciones Exteriores, 2002. Antonio Romoleroux. En: R. Villacís Molina, ed. Artistas plásticos del Ecuador. Quito(Pichincha): Ministerio de Relaciones Exteriores / Trama, pp. 221 (168-169)
  14. ↑ Pacurucu, H., 2018. La complejidad de un artista. En: Antonio Romoleroux. Quito: A. Romoleroux, p. 114
  15. ↑ Flores, I., 2001. Antonio Romoleroux. En: P. Cuvi, ed. Nuevos cien artistas. Quito(Pichincha): Dinediciones, p. 259 (184 y 254) Disponible en: http://koha.patrimoniocultural.gob.ec:10081/cgi-bin/koha/opac-detail.pl?biblionumber=1670&shelfbrowse_itemnumber=1670
  16. ↑ Flores, I. M., 2001. Antonio Romoleroux Obra "En". En: Globalización Nomadismo Identidad Salón Nacional de Arte. Cuenca: Bienal Internacional de Pintura de Cuenca, pp. 148 (94-95) Disponible en: http://biblioteca.casadelacultura.gob.ec/cgi-bin/koha/opac-detail.pl?biblionumber=71356
  17. ↑ Flores, I. M., 2007. La obra de Antonio Romoleroux. Catálogo de exposición individual "¿Qué devolvemos a la naturaleza?". Quito: Centro Cultural Metropolitano
  18. ↑ Rodríguez, M. A., 2018. Antonio Romoleroux y sus búsquedas. En: Antonio Romoleroux antológico. Quito: A. Romoleroux, pp. 114 (6-11). Disponible en: https://edipuce.edu.ec/antonio-romoleroux/
  19. ↑ www.antonioromoleroux.com
  20. ↑ Rodríguez Castelo, H., 2007. Antonio Romoleroux. En: H. Rodríguez Castelo, ed. Nuevo diccionario crítico de artistas plásticos del Ecuador del siglo XX. Quito(Pichincha): Activa Editorial (impresión), pp. 769 (568-570)
  21. ↑ Flores, I., 1999. Personaje de primera: Antonio Romoleroux - la sugestiva magia de la feminidad. De primera, Issue 36, pp. 36 (14-15)
  22. ↑ https://www.eltelegrafo.com.ec/noticias/cultura/10/dos-artistas-proponen-una-introspectiva-a-sus-obras
  23. ↑ https://www.quitocultura.info/event/exposicion-fotografica-y-escultorica-3plus2/
  24. ↑ www.antonioromoleroux.com
  25. ↑ Código del Instituto Nacional de Patrimonio Cultural, INPC BM-17-01-03-013-15-001078 documentado en https://archive.org/details/1995AntonioRomoleroux983ok
  26. ↑ ArteVivo Galería, 2020. Antonio Romoleroux, Madrid: ArteVivo. Obtenido en https://galeriaartevivo.es/artista/antonio-romoleroux-/81
  27. ↑ ArteVivo Galería, 2020. Antonio Romoleroux, Madrid: ArteVivo. Obtenido en https://galeriaartevivo.es/artista/antonio-romoleroux-/81
  28. ↑ https://gk.city/2019/04/12/empresas-ayudan-ninas-ecuador-grupo-entregas/ fundación Sor Dominga Bocca
  29. ↑ https://www.eluniverso.com/noticias/2016/10/07/nota/5841511/quito-subasta-concierto-favor-afectados-terremoto-16-abril subasta en favor de los damnificados del terremoto de 2016
  30. ↑ https://www.tullpukuna.art/ colección virtual Tullpukuna
  31. ↑ Solís, G., 2018. Inés Flores candidata al Premio Eugenio Espejo. La Hora, 13 Marzo, p. 6
  32. ↑ Flores Proaño, M. E., 2019. María Elisa Flores Proaño culture and art blog. [En línea] Disponible en: https://melylunaf.wixsite.com/mariaelisaflores/post/la-dra-in%C3%A9s-m-flores-y-su-pasi%C3%B3n-por-el-arte?lang=en [Último acceso: 13 agosto 2020
  33. ↑ ISSU, 2012. ISSU. [En línea] Disponible en: https://issuu.com/hernanpacurucucardenas . Último acceso: 8 septiembre 2020
  34. ↑ Rodríguez Castelo, H., 2007. Antonio Romoleroux. En: H. Rodríguez Castelo, ed. Nuevo diccionario crítico de artistas plásticos del Ecuador del siglo XX. Quito(Pichincha): Activa Editorial (impresión), pp. 769 (568-570)
  35. ↑ Flores, I. M., 2007. La obra de Antonio Romoleroux. Catálogo de exposición individual "¿Qué devolvemos a la naturaleza?". Quito: Centro Cultural Metropolitano
  36. ↑ Klert Ghov, U. 2019. Por la singladura del pensamiento del arte de Antonio Romoleroux. En: “Catálogo de exposición individual ‘El poder para transformar el mundo’”. IAEN. Quito
  37. ↑ Vorbeck, M., 1996. Antonio Romoleroux. Diners 170, Issue 170, pp. (57-59)
  38. ↑ Vorbeck,M., 2001. Antonio Romoleroux. En: P. Cuvi, ed. Nuevos cien artistas. Quito(Pichincha): Dinediciones, p. 259 (184 y 254)
  39. ↑ Flores, I. M., 1996. La obra de Antonio Romoleroux. En: Exposición Ganadores Salón Mariano Aguilera 1995. Quito: Municipio Metropolitano de Quito
  40. ↑ Rodríguez Castelo, H., 1996. La voluntad sígnica de Romoleroux. En: Exposición Ganadores Salón Mariano Aguilera 1995. Quito: Municipio Metropolitano de Quito
  41. ↑ Estrella, F. X., 2005. Antonio Romoleroux: hay que traer la selva a la ciudad. Dolce Vita - Bugatti, Issue 14, pp. 84 (80-83)
  42. ↑ Pazos Barrera, J., 2007-2008. Antonio Romoleroux: desde el ojo del observador. El Búho, Issue 24, pp. 146 (58-61)
  43. ↑ Rodríguez, M. A., 2018. Antonio Romoleroux y sus búsquedas. En: Antonio Romoleroux antológico. Quito: A. Romoleroux, pp. 114 (6-11)
  44. ↑ Estrella, F. X., 2005. Antonio Romoleroux: hay que traer la selva a la ciudad. Dolce Vita - Bugatti, Issue 14, pp. 84 (80-83)
  45. ↑ Rodríguez Castelo, H., 2007. Antonio Romoleroux. En: H. Rodríguez Castelo, ed. Nuevo diccionario crítico de artistas plásticos del Ecuador del siglo XX. Quito(Pichincha): Activa Editorial (impresión), pp. 769 (568-570)
  46. ↑ Rodríguez Castelo, H., 1996. La voluntad sígnica de Romoleroux. En: Exposición Ganadores Salón Mariano Aguilera 1995. Quito: Municipio Metropolitano de Quito
  47. ↑ Pazos Barrera, J., 2007-2008. Antonio Romoleroux: desde el ojo del observador. El Búho, Issue 24, pp. 146 (58-61)
  48. ↑ Flores, I. M., 2007. La obra de Antonio Romoleroux. Catálogo de exposición individual "¿Qué devolvemos a la naturaleza?". Quito: Centro Cultural Metropolitano
  49. ↑ Rodríguez, M. A., 2018. Antonio Romoleroux y sus búsquedas. En: Antonio Romoleroux antológico. Quito: A. Romoleroux, pp. 114 (6-11)
  50. ↑ Rodríguez, M. A., 2018. Antonio Romoleroux y sus búsquedas. En: Antonio Romoleroux antológico. Quito: A. Romoleroux, pp. 114 (6-11)
  51. ↑ Pacurucu, H., 2018. La complejidad de un artista. En: Antonio Romoleroux antológico. Quito: A. Romoleroux, p. 114(18-24)
  52. ↑ Pacurucu, H., 2020. Antonio Romoleroux - El poder para transformar el mundo. Estado&Comunes, enero, 1(10), pp. (183-196)
  53. ↑ http://www.uartes.edu.ec/descargables/biblioteca/catalogos/Fondo_Presidencia_de_la_Republica_del_Ecuador.pdf
  54. ↑ https://edipuce.edu.ec/antonio-romoleroux/
  55. ↑ “La Nota en Línea” 18/06/2020 en https://www.lanotaenlinea.com/component/content/article/9-sociedad/1141-antonio-romoleroux-recibe-condecoracion-al-merito-artistico-tras-30-anos-de-trayectoria?Itemid=437
  56. ↑ ”IAEN Noticias” 28/08/2019 en https://www.iaen.edu.ec/2019/08/28/la-muestra-de-antonio-romoleroux-se-exhibe-en-el-iaen/
  57. ↑ ”IAEN Noticias” 28/08/2019 en https://www.iaen.edu.ec/2019/08/28/la-muestra-de-antonio-romoleroux-se-exhibe-en-el-iaen/
  58. ↑ Rodríguez Castelo, H., 2007. Antonio Romoleroux. En: H. Rodríguez Castelo, ed. Nuevo diccionario crítico de artistas plásticos del Ecuador del siglo XX. Quito(Pichincha): Activa Editorial (impresión), pp. 769 (568-570)
  59. ↑ ”La Hora” 06/05/2018 en https://lahora.com.ec/cotopaxi/noticia/1102154709/antonio-romoleroux-celebra-30-anos-de-carrera-con-muestra-antologica
  60. ↑ Municipio del Distrito Metropolitano de Quito, 2010. Antonio Romoleoux - Natem 1995. En: Mariano Retro Catálogo 91 años del Salón Mariano Aguilera. Quito(Pichincha): FONSAL, p. 107 (63; 105) - http://www.premiomarianoaguilera.gob.ec/catalgo-mariano-retro/?lang=en
  61. ↑ Rodríguez Castelo, H., 2007. Antonio Romoleroux. En: H. Rodríguez Castelo, ed. Nuevo diccionario crítico de artistas plásticos del Ecuador del siglo XX. Quito(Pichincha): Activa Editorial (impresión), pp. 769 (568-570)
  62. ↑ Rodríguez Castelo, H., 2007. Antonio Romoleroux. En: H. Rodríguez Castelo, ed. Nuevo diccionario crítico de artistas plásticos del Ecuador del siglo XX. Quito(Pichincha): Activa Editorial (impresión), pp. 769 (568-570)
  63. ↑ Rodríguez Castelo, H., 2007. Antonio Romoleroux. En: H. Rodríguez Castelo, ed. Nuevo diccionario crítico de artistas plásticos del Ecuador del siglo XX. Quito(Pichincha): Activa Editorial (impresión), pp. 769 (568-570)
  64. ↑ Rodríguez Castelo, H., 2007. Antonio Romoleroux. En: H. Rodríguez Castelo, ed. Nuevo diccionario crítico de artistas plásticos del Ecuador del siglo XX. Quito(Pichincha): Activa Editorial (impresión), pp. 769 (568-570)
  65. ↑ “El Telégrafo” 20/04/2018 en http://www.premiomarianoaguilera.gob.ec/catalgo-mariano-retro/?lang=en
  66. ↑ Rodríguez Castelo, H., 2007. Antonio Romoleroux. En: H. Rodríguez Castelo, ed. Nuevo diccionario crítico de artistas plásticos del Ecuador del siglo XX. Quito(Pichincha): Activa Editorial (impresión), pp. 769 (568-570)

External links

Add External links

This article "Antonio Romoleroux" is from Wikipedia. The list of its authors can be seen in its historical. Articles taken from Draft Namespace on Wikipedia could be accessed on Wikipedia's Draft Namespace.

Retrieved from "https://wikitia.com/index.php?title=Antonio_Romoleroux&oldid=70097"