Eleven years as a free-lance news journalist and numerous articles on cruising, sailing and galley provisioning (with recipes) for U.S. and Canadian sailing, cruising and liveaboard magazines honed my writing skills for fiction. After completing eight novels for adults and beginning work on children's historical/illustrated books as well as a YoungAdult reader book and sick of battling the big publisher syndrome (they don't want you unless you are already a cash cow guaranteed to make them money!) I decided to set up my own publishing co. Writing and painting are my life. My Nautical Narrative Americana Primitive paintings are shown in fine galleries and in collections around the world and now, it is time to get my books out there.
Veraméndez Dionisio was born in Guarenas, Miranda State in 1936.From an early age working in diverse trades: carpentry worker, bricklayer, assistant mechanical, motorized, newsboy, bootblack, etc. In 1967 is disclosed as a painter to participate in a group exhibition held at the gallery "Bellini" in Caracas. That same year held in the gallery just mentioned, his first solo exhibition.
In 1970 won the second prize at the Salon of Painting sponsored by City Council District Sucre.
Honorable Mention in 1972 obtained a collective promoted by the City Council of the Federal District.
In 1975 he won a diploma in the Hall of Petrochemical Plastic Young.
In 1976 he received Honorable Mention in the Naval School of Venezuela in Mamo.
Veraméndez Dionisio is one of the fine artists of the country ingenuista more expressive personality. The way distributes each stroke in the stand, the rich chromaticism and secure way to compose your picture and your firm and clean, give his work a distinctive look, a unique label that allows markedly creations stand out within Venezuelan popular pictorial language.
Ernesto Gualle (Alangasí, 1960), resident of an Ecuadorian village rich in surviving folklore, tried at some points in his career as a painter to capture scenes from those picturesque ceremonies and almost Faustian dances. He was able to create paintings that relive those festive hours of the populace. But he remained within the limits of figurative art, trying to go beyond the limitations of the drawings of someone without experience of the academy. He conquered many of those limitations and his vision of folklore was precise and alive with color. As a result, the artist began throwing himself into the other world, that which, since the beginning of his career, had moved his painting: the natural world. And in the natural world, he was ever more seduced by the forest, where, in his condition as a naïf artist – or almost naïf – he was fascinated like a child with a toy, a toy rich in unsuspected possibilities of games and fantasies.
In the long account of painting forest scenes, Gualle attempted to offer his spectators special attractions: friendly clearings, rivers, mysterious lakes, exotic birds. But suddenly, he appeared to need none of those things and created works in which everything was consumed in pure forest vegetation: trunks, leaves, vines.
It was, without a doubt, a gesture of new maturity. He had reached the heart of the Ecuadorian forest with all that nature has to offer in visual beauty: chromatics that the artist himself would only have woven together with difficulty – such as leaves in blue and other unusual colors – colorful compositions, filtered lights, humid and swollen with silent life and rhythms. And how much rich and free rhythm, precisely like in each piece of forest!
(Naiguatá, Vargas, 11 Nov 1920). Venezuelan painter. A self-taught artist, his naive painting first prompted public attention in 1949, in a one-man show at the Taller Libre de Arte in Caracas. Carvallo’s appearance on the art scene marked the beginning of the boom in naive painting in Venezuela. His main subject was the various Venezuelan folk festivals, which he depicted in fabulous jungles populated by numerous native animals. His detailed technique was based on the elaborate intertwining of different elements in the painting, achieving attractive decorative effects. He exhibited at an international level.The discovery of Feliciano Carvallo in 1947 Indicates the beginning of the height of the ingenuous painting in Venezuela.
In 1955 the critic Gaston Diehl of Art exhibition to Organizes to him in the Venezuelan French Cultural Institute
From 1966 the works of Carvallo have participated in several International confrontations, like in the Gallery Villand & Galanis, Of Paris and in the exhibition "Present ingenuous Carried out of America" in the Museum of Modern Art of Madrid in 1967.
1965: Honorary mention, Official Hall and prize Antonio Edmundo Monsanto Hall Valencia Arturo Michelena (State of Carabobo),
In 1966 he was awarded the Premio Nacional de Pintura and the Premio Armando Reverón at the Salón Oficial Anual de Arte Venezolano.