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Book illustrated by Roberto Domingo Fallola:
Jul 062015
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Jul 052015
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Book illustrated by Roberto Domingo Fallola:
Jul 052015
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Book illustrated by Roberto Domingo Fallola:
Jul 052015
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Book illustrated by Roberto Domingo Fallola:
Jul 052015
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Book illustrated by Roberto Domingo Fallola:
Jul 052015
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Book illustrated by Roberto Domingo Fallola:
Jul 052015
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Book illustrated by Roberto Domingo Fallola:
Jul 052015
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Book illustrated by Roberto Domingo Fallola:
Jul 022015
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Book illustrated by Roberto Domingo Fallola:
Jul 022015
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Book illustrated by Roberto Domingo Fallola:
Jul 022015
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Book illustrated by Roberto Domingo Fallola:
Jul 022015
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Book illustrated by Roberto Domingo Fallola:
Jun 302015
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Book illustrated by Roberto Domingo Fallola:
Jun 302015
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Book illustrated by Roberto Domingo Fallola:
Jun 302015
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Book illustrated by Roberto Domingo Fallola:
Jun 302015
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Book illustrated by Roberto Domingo Fallola:
Jun 302015
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Book illustrated by Roberto Domingo Fallola:
Jun 292015
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Book illustrated by Roberto Domingo Fallola:
Jun 292015
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Book illustrated by Roberto Domingo Fallola:
Jun 282015
Book on Roberto Domingo Fallola:
“Con Roberto Domingo” (With Roberto Domingo)
by Mari Cruz Galatas
Madrid, 1999.
Jun 282015
Book on Roberto Domingo Fallola:
Roberto Domingo-Maestro de La Luz y El Movimiento (Roberto Domingo-Master of Light and Movement)
By Eduardo Núñez J. Peñasco
(Revista Geográfica Española, Madrid, Spain, 1958)
Roberto Domingo, Maestro de la Luz y el Movimiento (Roberto Domingo-Master of Light and Movement)
Simplifying the history of bullfighting painting, we could say that it begins with Francisco de Goya and ends with Pablo Picasso. This radical assertion must be qualified. Before and after the Aragonese and the Malagueno existed painters dedicated to bullfighting. They represented the peak of the painters who worked with the bullfightng theme. Of course, before and after there is evidence of very prominent artists who dedicated their work to our national sport. One of them was Roberto Domingo.
Two books published in different times now come to these pages. The first one was written shortly after his death in Madrid so you still can not contemplate the full extent of the assessment that was later attained by the painter, son of Domingo Marqués. Throughout its pages, the author reviews from the first steps of the man to his last days as an artist. The book is profusely illustrated-how could it be otherwise? The color plates, loose and attached to cards , are reproduced in a single tone-colorfull-jumping out from the text and sketches, integrated in the same, form a set full of harmony. To enable the reader to know the large production of the painter, the author does not focus solely on the bullfight theme, the most widely known, but in the whole dimension of his “costumbrista.” While many call paintings in small format ‘bocetismo’, preparatory works for usually larger ones, and later as sketched pictures, the author claims that Roberto Domingo’s “are completed paintings, however slight their execution, are pictures because you can not add more without diminishing its freshness or its pictorial value. ” Gouache, in its brush strokes, is what oil is to others and no one doubts that with such a procedure, not technique, Roberto Domingo is the master of light and movement.
Núñez J. Peñasco, Eduardo Roberto. Roberto Domingo, Master of Light and Movement. Madrid, Revista Geográfica Española (Spanish Geographical Magazine), 1958. Printed cloth with dust jacket. Color plates. Drawings. Rare. The copy consulted has no dust jacket.
Description of the book: José María Sotomayor
Jun 282015
Book on Roberto Domingo Fallola:
Roberto Domingo-Arte y Trapío (Roberto Domingo-Art & Trapío) by María Dolores Agustín Guerrero
(Publishers Agualarga, SL, Madrid, Spain. 1998)
Roberto Domingo, Arte y Trapío (Roberto Domingo, Art and Trapío)
Many years later, in 1998, María Dolores Agustín Guerrero gives the press a work very different format and with intent, as noted in the colophon, to call attention to the unjust neglect of Roberto Domingo. Expected to arrive at some point, you want to be close, to occupy the prominent place that rightfully belongs in the history of contemporary painting. Although the author says wanting to locate in the place it deserves in the history of painting, not only of taurine, which is undoubtedly universal teacher. Maybe that typecasting has been a hindrance for a wider recognition. Maria Dolores, in a perfectly structured book with a comprehensive graphical documentation, about eight hundred photographs and documents, tells the familiar surroundings of his childhood and adolescence in Paris from Madrid of his time and he met bullfights. Also of his office and in a lengthy report presents images of his life, correspondence, press reviews, magazine covers and an extensive and select catalog of his works, probably the largest of the known so far. Work is completed with a highly selected bibliographical. It is a very vital that Maria Dolores Agustín recognizes that discovered the painting of Roberto Domingo accidentally, unintentionally, in the exercise of their profession. “Then she says I was captivated, as reflected, bright, sincere, life itself with all its aroma and with all its drama.” He admits the force of his brushwork, even softened the colors to gouache, gave him a great personality and character, which, while made you think you can express more with less! It is a book to learn, to enjoy the contemplation of his images and it is very important to know the bullfighting during the painter’s life story.
Agustín Guerrero, María Dolores. Roberto Domingo, Arte y Trapío (Art and Trapío) . Forewords by Angel Luis Bienvenida y Mario Hernández Sánchez-Barba. Madrid, Agualarga, 1998.
Folio lower. 278 p. Editorial and jacket embossed hardback with laminated reproduction of a fragment of the picture before the race. Black and white photographs and color illustrations.
Description of the book: José María Sotomayor
Jun 202015
Oil on cardboard. 60cm x 49cm.
Jun 202015
Oil on cardboard. 60cm x 49cm.
Jun 192015
Gouache on cardboard. 48cm x 69cm.
Jun 192015
Gouache on cardboard. 48cm x 69cm.
Jun 192015
Gouache on cardboard. 14cm x 11cm. Courtesy of Retiro auction room, Madrid.
Jun 192015
Gouache on cardboard. 14cm x 11cm. Courtesy of Retiro auction room, Madrid.
Jun 192015
Gouache on cardboard. 14cm x 11cm. Courtesy of Retiro auction room, Madrid.
Jun 192015
Oil on cardboard. 18″ x 8 3/4″.
Jun 192015
Oil on cardboard. 18″ x 8 3/4″.
Jun 192015
Oil on cardboard. 18″ x 8 3/4″.
Jun 192015
Tempera on paper. 15cm x 25cm. Naon Art Gallery, Buenos Aires. Auction of September, 2014.
Jun 192015
Tempera on paper. 15cm x 25cm. Naon Art Gallery, Buenos Aires. Auction of September, 2014.
Jun 192015
Tempera on paper. 15cm x 25cm. Naon Art Gallery, Buenos Aires. Auction of September, 2014.
Jun 192015
Oil on canvas. 107cm x 85cm.
Jun 192015
Oil on canvas. 107cm x 85cm.
Jun 192015
Jun 192015
Jun 192015