Virgilio Trompiz
Venezuelan painter, was born in 1927 in Coro, Falcón state and died in Caracas in 2012. From 1940 to 1945 he studied at the School of Plastic and Applied Arts of Caracas. Between 1942 and 1947 he exhibited in the special section of the Annual Official Exhibition of Venezuelan Art, dedicated to the young students of the School of Plastic and Applied Arts. In 1945 he finished two murals painted in fresco on the wall of one of the school's workshops, these works were destroyed during the renovation process of the institution being director Francisco Narváez. In 1946, as a planner attached to the road section of the Ministry of Public Works, he drew the drawing corresponding to the Bejuma - Canoabo road section. In 1948 he appears among the founding members of the Free Art Workshop; In this same year he joined as an illustrator of the Tricolor Magazine where he will remain until 1970. In 1954 he traveled to Italy, France and settled for a few months in Spain. From 1959 until 1972 he worked as a professor of engraving and painting at the School of Plastic and Applied Arts "Cristóbal Rojas". In 1966 he made illustrations for the work "Caracas 400 years" that appears the following year compiled for the label Disco Musical Circle in 20 albums for one of which Trómpiz painted his painting "Musical Evening during the Colony". In 1979, the Venezuelan Corporation of Guayana, together with the Durban Gallery, published the book Trómpiz: "... as a student of the School of Plastic Arts, he initially reflected the influence of the Cubism of Braque and Picasso. Unlike his generation partners (Manaure, Navarro, Guevara Moreno, etc.), did not travel the path of abstractionism and although he did not despise the flat color he felt, like Poleo in recent times, a predilection for the feminine figure set on decorative backgrounds where they play the harmonious color of a tropical scenery formed by fabrics, curtains and carpets In recent years Trómpiz has used a more sensual and suggestive color, marking strong contrasts with chiaroscuro and approaching the luminosity of Armando Reverón's material, but with great care to limit his thematic repertoire to female figures".
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