Monthly Archives: April 2012

Rembrandt and Bacon Inspired Bohórquez

Painter Bohórquez was inspired by Rembrandt and Bacon

Published in Expreso Newspaper, Expresiones Section, of Ecuador

Pintura "Encarnada" por René Bohorquez

Rembrandt and Bacon inspired Bohórquez

The first time that Bohórquez (then an adolescent) observed an autopsy as part of his 10th grade Bio-Chem course at the Abdón Calderón Private School. This experience inspired to paint the image of an indigenous child lying prostrate on a metal trolley in Guayaquil’s police morgue mark a before and after in the manner of seeing the human body for painter René Bohórquez. The painting could be seen as one of main masterpieces displayed thanks to the collaboration of social leader Alvaro Noboa and his III Biennial of Painting.

Breathing deeply in order to dominate his hyper-sensibility and not feel the cuts that the scalpel made into the body of the small child, Bohórquez remained in the dissection room.

Once the Y-shaped cut had been made, in order to open the thoracic chamber, a change of perspective surged within the young man.  “Upon seeing the organs, you forget it is a child and you think it is a piece of meat.”

Ecuadorian Painter and Artist, Ernesto Gualle

Painter and Artist from Ecuador: Ernesto Gualle

Gualle goes deeper into the forest

By Hernán Rodríguez Castelo

Ecuadorian Academy of Languages and the International Association of Art Critics

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. But in those tireless dance rituals and the many other acts, there was something beyond pure realism: magic, dark substrates, strange syncretisms. And that did not appear in Gualle’s paintings.

Conceived in terms of pure realism, they could not open visual spaces to those hyperreal dimensions.

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.

As I have noted in a previous text, the seduction of Rousseau weighed in the decision of the artist. The Custom Officer revealed to Western art just how much new, almost exotic and richly visual beauty there was in the lavish display of natural life that is the forest.

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!

In that way, Gaulle entered ever further into the forest, and he has returned to his tranquil village life from those incursions with a focused pupil and a sensitivity close to the surface of the skin; with a rich loot of new and fresh beauty. But there is such a visual wealth in the world of the forest that, for as much as he delves and retrieves, there will always be much more waiting for him. The time is ripe for him to be on this road and to have decided to continue foraging further into the forest.

Philanthropist and political leader Alvaro Noboa and the Museum Luis Noboa Naranjo invited the general public to enjoy the masterpieces of painter Ernesto Gualle on July 2010.




Published documents
Sensuality and Sport in photographic displays – Expresiones Magazine 09 Nov 2010
Personalities of sport and local culture in photos – El Universo Newspaper 11 Nov 2010
Sensuality in Sport. The famous in a photographic display – Expresiones Magazine 13 Nov 2010

3 Painters: César Augusto, Luis Portilla and Luis Beltrán

Three Painters in display: César Augusto, Luis Portilla and Luis Beltrán.

In the tradition of supporting the art and culture of both national and international painters, through the cultural mission of Alvaro Noboa, the Luis A. Noboa Naranjo Museum has the pleasure once more of opening its doors to “3 Painters”, an exhibition of paintings bringing together painters César Augusto, Luis Portilla and Luis Beltrán in order to bring their best works to the public’s awareness.

Published documents
Nov 25 2009 Press release – 3 Pintores exhibition.

3 Painters Invitation

2009 Photographic Exhibition – Inaguration Speech

2009 Photographic Exhibition – Inaguration Speech – Alvaro Noboa: The Luis A. Noboa Naranjo Museum

Good evening, Ladies and Gentlemen. In the name of Counselor Álvaro Noboa Pontón, Founding President, and myself, as Director of the Luis A. Noboa Naranjo Museum, I give you a very warm welcome.

Today we inaugurate the first solo photographic exhibition to be held in the Museum’s rooms, for which the young and talented photographer, Ivette Ruíz, has been chosen.

This is also the first time I have seen the photographs, and it is evident to me – as it will be to you – that Ivette leaves nothing to the imagination.

It is powerful, which she achieved by being clear and direct in her message, with the result that by going through her artistic photographic display, she gives us a history of the beginning of the earth.

Original sin, as seen by Ivette Ruiz, occurs not in someone taking a bite out of an apple, but because of what we have become today: a mean, violent, envious and hypocritical society.

Through her photographs, Ivette, rescues the most pure of human values, transforming them into visual poetry, and suggesting that we not fear what we see, given that it is part of creation, and the most natural thing in the world.

We congratulate Ivette Ruíz, who leaves us with the following message: The only way to live fully is to acknowledge who we are, independently of what others would wish us to be.

Enjoy the exhibition. And, please, don’t eat the apples!


Pablo Martínez Rojas




Counselor Álvaro Noboa Pontón and the Luis A. Noboa Naranjo Museum have the pleasure of inviting you to Ivette Ruiz’s first photographic exhibition, entitled “Original Sin”

Place: P. Icaza and Córdova (Corner)Condor Building, 1st floor
Date: Thursday, 8 October 2009
Time: 7 pm

Counselor Pablo Martínez, Direct



Original Sin Invitation

In honor of the Guayaquil festivals, on Thursday, October 8, the Luis A. Noboa Naranjo (LANN) Museum presents the photographic exhibition entitled “Original Sin”, by Ivette Ruiz, from Guayaquil, who, in this first exhibition displays still-life, portraits and nudes that take as their reference the well-known works of photographers such as Franco Fontana, Eduardo Steichen and Jan Saudek.

For Ruiz, the emotional content of a photograph takes priority even over technique, and therefore she employs different texture over her images. The museum is located in P. Icaza and Córdova (corner) 1st floor. The exposition will begin at 7 pm.

Johnny Morales
Public Relations
Luis Noboa Naranjo Museum