FRANCISCO NARVÁEZ | Frieze New York 2021
May 5-14, 2021.

Throughout the past century the work of Francisco Narváez (1905-1982) encompassed several styles of painting and sculpture. He embraced wood, stone and bronze with the same great skill as he did oil and ink. At the beginning of his career he executed very influential pieces in which the physical features and daily activities of the indigenous peoples of Venezuela predominated. Women selling and transporting food, harvesting the land or washing clothes on the banks of rivers were always present in his artistic effort.

However, it is evident that there was a need in Narváez to take his plastic creation beyond that descriptive representation of life towards a discourse that extolled universal ideas of spiritual and intellectual growth. Culture and progress through education and science were taking center stage in his mind. With time Narváez’s work lost the most specific features and only insinuated and exaggerated anatomical characteristics of his figures.

On this occasion Ascaso Gallery mainly presents a transitive stage in the craft of Francisco Narváez; one in which his figurative statement metamorphosizes towards new, sometimes dreamlike forms that invite the observer to witness semi-abstract spaces that exist far from natural lines and classical organization of its elements. Over 30 pieces from 1929 to 1972 that include sketches for monument hallmarks and literacy campaigns to diverse techniques in sculpture that give us an inlet to the vast creativity of one the most innovating artists of Latin American painted and carved arts.

Lucas González, Francisco Narváez Foundation, Records and Information Management




Cap Girardeau Mo. The Sweet Smell of Corn 2019 Oil on Canvas 40 x 50 in.

Julio Larraz®. Cap Girardeau Mo. The Sweet Smell of Corn, ©2019 . Oil on Canvas. 40 x 50 in.


Julio Larraz® | Expo Chicago Online Viewing Room

April 8 to 12, 2021

Ascaso Gallery presents for EXPO CHGO ONLINE 2021 a selection of works by master Julio Larraz (Havana, 1944), one of the most influential Latin American neo-figurative painters of the second half of the 20th century.
His painting is a renewal in the dynamics of narrative languages that supports the ways contemporary culture represents fictions about reality. The world of subjectivity, as an essential vindication of modern culture, translates into art’s freedom to imagine and recreate other possible worlds, of values ​​and spirituality different from those condemning us to the quotidian consumption and human vanity.
In its poetic dimension, Larraz’s work displays an expression mechanism that synthesizes, on the one hand, the illustrator’s agile line immersed in pop culture. A cartoonist of fine irony, experienced in his work with The New York Times, The Washington Post, Chicago Tribune and Vogue Magazine during the 60s and early 70s. On the other, a rigorous and imaginative mastery of pictorial styles that marked the expressive pulse of modern avant-gardes of the early 20th century, influenced by new visual media such as film and photography.
In his discursive perspective Larraz embodies the intangible human memory and his inexhaustible activity of remembrance, producing a fascinating imaginary that overlaps episodes drawn from literature, arts and ancient, classical and modern History, but seen through the biographic archives of his personal history.
Ascaso Gallery has represented Julio Larraz for over nine years. Larraz’s solid and influential career has been recognized in high international circuits through awards and important individual exhibitions in Latin America, the United States, and Europe.
Dennys Matos. Art Critic. El Nuevo Herald, Miami

Frieze 2020 – NY

FelicianoCarvallo El Tren en la Montana 1991

Frieze 2020 – New York

Online view – May 8 to May 15/ 2020

Ascaso Gallery Miami-Caracas, Frieze Art Fair 2020 (NY) proposal focuses on the relevance of the work by Feliciano Carvallo (Venezuela, 1920-2012), a reference to folklore in Latin America particularly Venezuela, through naïf paintings based on tropical and popular scenery compositions. Considered by some critics as the Latin American Rousseau, Carvallo is a reference self-thought painter that proposed landscape compositions detached from the traditional naturalism by building whimsical images of a tropical paradise, stressing the qualities of light and color within the elements of a busy Amazonia environment with not just a visual but a mystical approach. In the words of Perán Erminy, expert in the naive stream, Carvallo was a quiet man, that move slowly, talked briefly, and with a particular imagination that interpreted his surroundings as a vibrant foliage. He presents a depiction of jungles as an iconographic interpretation of experiences; which composition is based in fantasy rather than naturalism.

Carvallo superposes elements like trees, human figures, animals and folkloric objects and situations interacting in a constructivist composition. Carvallo was granted with the Venezuelan Visual Arts National Award in 1966; his work has been presented in the United States (Miami, Washington, Ohio, Boston, Durham, New York), Paris, Madrid, Cuba, and Sao Paulo.

Bélgica, Rodríguez, PhD, Art Critic and researcher specialized in Latin American Art.