“Toques de fe” al igual que en las cuevas del sur de Europa de hace unos 30,000 años, expresan el lenguaje humano del cuento a través del arte y el simbolismo.
Los primeros artistas expresaron lo que era más significativo para ellos, ya sea para exaltar, aplacar o comunicarse con poderes más allá de su control o simplemente para celebrar la necesidad humana de expresión. Aunque pueden surgir controversias acerca de la corrección y legitimidad y aceptación de la expresión colectiva e individual, es y será siempre central en una sociedad vibrante,libre y atenta a las necesidades humanas.
Mientras la humanidad pondera y experimenta con sus propios significados y relevancia, se nos confronta con la pregunta última y básica de quiénes somos, de dónde venimos y hacia dónde vamos, “D’où Venons-nous / Que Sommes-nous / Où Allons-nous”; tal como Paul Gauguin tan punzanamente planteara este misterio de la existencia en su pintura del siglo 19 del mismo título.
Aunque algunos de los “Toques” son eclesiásticos (encargados por la iglesia), muchos de ellos son revelaciones propias recibidas en la oración y en el acto de su creación. Es posible que Dios hiciera que el significado de la vida fuera paradójico por diseño, pero nos regaló la fe para que obráramos la gracia al encontrar el significado y la alegría en la seguridad que da el conocer su amor y promesa de salvación en su hijo Cristo Jesús.
“Toques de fe” explora esas imágenes de la fe tal como yo las entiendo e intento hacerlas visibles en sus manifestaciones interiores y externas. Cedo mi lugar a mis propias obras para alcanzar entendimiento, ya que ellas comunican de manera universal a través del lenguaje del arte y el simbolismo. Con la esperanza de que abra ventanas y puertas hacia esa luz brillante que he encontrado por medio de la fe en la belleza de las imágenes que hablan el lenguaje del espíritu.
Me parece muy apropiado ponderar estos “Toques de fe: bajo la superficie” durante esta época crucial en nuestra búsqueda de significado y realización.
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Reflections by the artist
on his exhibit “Toques de fe”
“Toques de Fe” (Touches of faith), as in the caves of southern Europe some 30,000 years ago, express the human language of storytelling through art and symbolism.
Early artists expressed what was most meaningful to them, whether to exalt, appease, or communicate with powers beyond their control, or to celebrate the human need for expression. While controversies may arise about propriety, legitimacy, and acceptance of collective and individual expression, it is and always will be central to a vibrant, free, and responsive society.
As humanity ponders and experiments with its own meanings and relevance, we are confronted with the ultimate and fundamental question of who we are, where we came from, and where we are going, “D’où Venons-nous / Que Sommes-nous / Où Allons-nous”; just as Paul Gauguin so poignantly posed this mystery of existence in his 19th-century painting of the same title.
Although some of the “Toques” are ecclesiastical (commissioned by the church), many of them are self-revelations received in prayer and in the act of their creation. God may have designed the meaning of life to be paradoxical, but he gave us faith to work with grace by finding meaning and joy in the security that comes from knowing his love and promise of salvation in his Son, Jesus Christ.
“Toques de Fe” explores these images of faith as I understand them and attempts to make them visible in their inner and outer manifestations. I surrender to my own works, allowing them to achieve understanding, as they communicate universally through the language of art and symbolism. In the hope that it will open windows and doors to that brilliant light, I have found faith in the beauty of images that speak the language of the spirit.
I find it very appropriate to ponder these “Touches of Faith: Beneath the Surface” during this crucial time in our search for meaning and fulfillment.
Estas obras representan para mí la transmisión de una visión artística, una visión que va desarrollándose, que yo experimento en el cosmos en comunión espiritual con la cultura y la vida natural con mis vecinos.
These works represent to me the transmission of an artistic vision. This vision is unfolding, one I experience in the cosmos through spiritual communion with the culture and natural life of my neighbors.
En la exposición Vonn Hartung presenta el enfoque de su obra,en la cual se refleja el amor por la naturaleza, la búsqueda de los valores fundamentales de los seres humanos y la afirmación de la presencia espiritual en todo lo creado.
In the exhibition, Vonn Hartung presents the focus of his work, which reflects his love of nature, the search for fundamental human values, and the affirmation of the spiritual presence in all creation.
“Toques de Fe: Bajo la Superficie” explora esas imágenes de la fe tal como yo las entiendo e intento hacerlas visibles en sus manifestaciones interiores y externas. Cedo mi lugar a mis propias obras para alcanzar entendimiento, ya que ellas comunican de manera universal a través del lenguaje del arte y el simbolismo. Con la esperanza de que abrirá ventanas y puertas hacia esa luz brillante que he encontrado por medio de la fe en la belleza de las imágenes que hablan el lenguaje del espíritu.
“Touches of Faith: Beneath the Surface” explores these images of faith as I understand them and attempts to make them visible in their inner and outer manifestations. I surrender to my own works, which strive to achieve understanding, as they communicate universally through the language of art and symbolism. In doing so, I hope that they will open windows and doors to the brilliant light I have found through faith in the beauty of images that speak the language of the spirit.
Para celebrar el Día de la Tierra, el artista A. Vonn Hartung presentó su exposición “Laudato Si’— Cuidar la Casa Común” en la Iglesia San Ignacio de San Juan el 22 de abril de 2023. Con ocho obras principales, su propósito fue capturar la esencia y el espíritu de la encíclica del Papa Francisco, que llama a la atención mundial sobre la urgente necesidad de la gestión ambiental y la acción climática. Las obras de arte que invitan a la reflexión sirvieron como un conmovedor recordatorio de nuestra responsabilidad compartida de cuidar nuestro planeta y a los demás.
In celebration of Earth Day, artist A.Vonn Hartung unveiled his “Laudato Si’—Care for our Common Home” at San Ignacio Church in San Juan on April 22, 2023. Featuring eight major works, his exhibit aimed to capture the essence and spirit of Pope Francis’s encyclical, which calls for global attention to the urgent need for environmental stewardship and climate action. The thought-provoking artworks served as a poignant reminder of our shared responsibility to care for our planet and one another.
Works by A.Vonn Hartung
permanently displayed in Catholic Churches—
Casa de Niños Manuel Fernández Juncos (capilla), Miramar, San Juan, Puerto Rico
—La Madre Dolorosa, High Relief Wood Sculpture, 33 x 27 inches, Pau Lope wood, commissioned by Padre Julio Victor Garcia, 1991
—Sagrario “He is Risen” 20 x 14 x 12-inches, high relief wood sculpture on the door of Sagrario, commissioned by Padre Jorge Castillejo, 1992
—Altar and Ambo, high relief wood sculpture, Pau Lope wood, commissioned by Padre Jorge Castillejo, 1992
La Madre Dolorosa
Parroquia San Francisco Javier, Urb Fairview, Trujillo Alto, Puerto Rico
—San Francisco Javier Baptizing, painting on wood panel, 7 x 11 feet, altarpiece (retablo), commissioned by Padre Julio Victor Garcia, 2002
—Vivimos para esa Noche (Beato Carlos Manuel Rodriguez Santiago), oil portrait on canvas, commissioned by Padre Julio Victor Garcia, 2000
San Francisco Javier
Hermanas Misioneras del Buen Pastor, Caguas, Puerto Rico
—El Buen Pastor / The Lost Sheep, painted mural on canvas (after Alfred Soord, The Lost Sheep), 9 x 12 feet, Sanctuary of Capilla, commissioned by las Hermanas Misioneras del Buen Pastor, circa 1986
—Las Huellas del Buen Pastor, oil painting (small mural), 40 x 60 inches, commissioned by las Hermanas Misioneras del Buen Pastor, 1995
El Buen Pastor / The Lost Sheep
Parroquia El Buen Pastor, Guaynabo (Apolo), Puerto Rico
—El Buen Pastor, a painting on wood panel, 4 x 8 feet, commissioned by Padre Jaime Vazquez Rojas, 2003
El Buen Pastor
Parroquia Santa Rosa de Lima, Guaynabo (Barrio Amelia), Puerto Rico
—A Mural of Faith: Art in the Light of Christ, a painted mural in the Sanctuary, 29 x 65 feet, commissioned by Padre Julio Victor Garcia, 1997.
—Stations of the Cross, 14 painted panels, each 4 x 8 feet (gilded with gold and copper leaf) in the nave, commissioned by Mons. Antonio “Tito” José Vázquez, 2001
—Cordero2, wood carving (for Sagrario), commissioned by Padre José Gregorio Guaipo
—Beato Carlos Manuel Rodríguez Santiago, large giclee print on canvas, Padre José Gregorio Guaipo
Jesus takes up his cross
Parroquia Maria Auxiliadora, La Cantera, Hato Rey, Puerto Rico
—La Misericordia de San Juan Bosco, painting on wood panel, 3 ½ x 8 feet, commissioned by Padre Nicolás “Colacho” Navarro SDB, 2011
—San Juan Bosco blesses his successor, Blessed Michael Rua, painting on a wood panel, 3 ½ x 8 feet, commissioned by Padre Nicolás “Colacho” Navarro SDB, 2011
—Santo Domingo Savio (4 paintings on wood panels), in the side altars of the Sanctuary, commissioned by Padre Nicolás “Colacho” Navarro SDB, 2014
—Forever Young, a 27 square foot painting for the students of Colegio San Juan Bosco at Parroquia Maria Auxiliadora, commissioned by Padre Jorge Santiago Cartagena SDB, 2017
—Fourteen Stations of the Resurrection, large giclee prints on wood panels, commissioned by Padre Nicolás “Colacho” Navarro SDB, 2018
Siempre Jóven / Forever Young
Colegio Maria Auxiliadora (in capilla), Santurce, Puerto Rico
—Mi Vida es para los Jovenes, vitral (oil paint on Lexan), commissioned by Sor Estela Baez y las Hermanas Salesianas, circa 2003.
—Santa Maria Mazzarello, vitral (oil paint on Lexan), commissioned by Sor Estela Baez y las Hermanas Salesianas, circa 2003.
Mi Vida es para los Jóvenes
Parroquia San Juan Bosco, Villa Palmeras (Calle Lutz), San Juan, Puerto Rico
—Ten Stations of the Resurrection, vitrales (oil paint on Lexan), commissioned by Padre Luis Gomez SDB, circa 2005.
He saw and believed
Parroquia San Juan Bautista, Orocovis (pueblo), Puerto Rico
—La Vida y Profecia de San Juan Bautista (The Life and Prophecy of St. John the Baptist), mosaic mural, 500 square feet in three arches, Sanctuary, commissioned by Padre Jorge Santiago Cartagena SDB
—Last Supper (oil paint on Lexan), in Santisima Chapel, commissioned by Padre Jorge Santiago Cartagena SDB
—El Pan y el Vino (two “stained glass” windows, oil paint on Lexan) in Santisima Chapel, commissioned by Padre Jorge Santiago Cartagena SDB
—Resurrección (stained glass window) in Santisima Chapel, commissioned by Padre Jorge Santiago Cartagena SDB
—El Nacimiento de San Juan Bautista (three “stained glass” windows, oil paint on Lexan) in Sacristy, commissioned by Padre Jorge Santiago Cartagena SDB
La Vida y Profecía de San Juan Bautista
Capilla San Juan Bosco, Orocovis (Barrio Gato), Puerto Rico
—El Sueño de las Dos Columnas (Dream of the Two Columns), a painted mural in the Sanctuary of Capilla, 18 x 50 feet, commissioned by Padre Jorge Santiago Cartagena SDB
—FourteenStations of the Resurrection, “stained glass” windows—oil paint on Lexan, commissioned by Padre Jorge Santiago Cartagena SDB
—Two large “vitrales” (theme of the mural “Dream of the Two Columns”), oil paint on Lexan, commissioned by Padre Jorge Santiago Cartagena SDB
El Sueño de las Dos Columnas
Capilla Divino Niño Jesús, Orocovis (Botijas), Puerto Rico
—San José con el Niño Jesús, acrylic painting on wood panel, in the Sanctuary, commissioned by Padre Demetrio Coello SDB and the Salesian community.
—Jesús Resucitado, acrylic painting on wood panel, in the Sanctuary, commissioned by Padre Demetrio Coello SDB and the Salesian community.
—Maria Auxiliadora, acrylic painting on wood panel, in the Sanctuary, commissioned by Padre Demetrio Coello SDB and the Salesian community.
San José con Niño Jesús
Catedral San Juan Bautista, Viejo San Juan, Puerto Rico
—Stations of the Resurrection, 14 paintings on wood panels, 24 x 24 inches, 2015, on loan from the artist, A.Vonn Hartung, to Mons Roberto Gonzalez Nieves, 2018 (NOTE: Giclee prints of these paintings are on display in several churches in Puerto Rico.)
—Carved Andas, (for processions) commissioned by Mons Roberto Gonzalez Nieves with liturgical consultant Hector Balvanera, 2015
—Misericordia, a painting on wood panel, 2015, commissioned by the Archbishop of San Juan, S.E.R. Monseñor Roberto González Nieves, for the arch above the main doors of Catedral San Juan Bautista in San Juan, Puerto Rico, to commemorate Pope Francis’ declared Extraordinary Jubilee Year of Mercy 2015-2016. Liturgical consultant Hector Balvanera.
Misericordia
Capilla María Auxiliadora, Carolina (rural), Puerto Rico
—Saint Joseph, Protector, carved statue, approximately 3 feet high, in Capilla, commissioned by Padre Rafael de Jesús Gonzalez Ayala CRL, 2017
—Beato Carlos Manuel Rodríguez Santiago, giclee print on canvas, Padre Rafael de Jesús Gonzalez Ayala CRL, 2017
St. Joseph, Protector
Catedral Dulce Nombre de Jesús, Caguas, Puerto Rico
—Cordero, wood carving for Beato Carlos Manuel Rodriguez’s tomb, commissioned by Mons. Ruben Antonio Gonzalez Medina CMF, 2001
Cordero de Dios
Parroquia Maria Madre de mi Señor, Guaynabo, Puerto Rico
—Before Birth: Mary at the Manger, acrylic painting on canvas, 24 x 36 inches, commissioned by Padre Jairo Granados, 2021
Before Birth, Mary at the Manger
Parroquia Corazón de Jesús, Guaynabo, Puerto Rico
—Fourteen Stations of the Cross, Giclee prints mounted on wood panel, commissioned by Padre Phillip (Felipe) Nuñez, 2020
— Fourteen Stations of the Resurrection, Giclee prints mounted on wood panel, commissioned by Padre Phillip (Felipe) Nuñez, 2020
Via Crucis / Via Lucis
Parroquia San Ignacio de Loyola, San Juan, Puerto Rico
—Replica of high relief ceramic sculpture St Benedict of Nursia, 32 x 11 x 3 inches, Forton Hydrocal (architectural stone), Rev. Ron Gonzales, SJ
—Replica of high relief ceramic sculpture, St Francis of Assisi, 32 x 11 x 3 inches, Forton Hydrocal (architectural stone), Rev. Ron Gonzales, SJ
—Replica of high relief ceramic sculpture, St Ignatius of Loyola, 32 x 11 x 3 inches, Forton Hydrocal (architectural stone), Rev. Ron Gonzales, SJ
—Saint Dymphna, Life-size statue, Cedro odorata, Commissioned by Father Mark O’Donnell, 2021
Saint Dymphna
Our Lady of Lourdes Church, Gales Ferry, Connecticut
—Baptism, Life-size high relief wood sculpture, Linden wood, commissioned by Our Lady of Lourdes Church, circa 1983
—Last Supper, Life-size high relief wood sculpture, Linden wood, commissioned by Our Lady of Lourdes Church, circa 1983
—Carved Hymn board, 4 x 6 feet (opened), Honduran Mahogany, commissioned by Our Lady of Lourdes Church, circa 1983
The Last Supper
St. John Church, Montville, Connecticut
Crucified Christ, Life-size on a 10-foot cross, Linden Wood and Mahogany, commissioned by Monsignor Bronislaw Gadarowski, 1981
The Agony of Crucifixion
St. Paul Church, Pensacola, Florida
Six Carved Saints (Paul, Peter, Matthew, Mark, Luke, and John), high relief wood sculptures (12-inches x 33-inches x 3-inches) for the ambo, commissioned by Pastor Doug Halsema with liturgical consultant Steven Schloeder, 2008
St. John Evangelist
Pontifical North American College, Vatican
Beato Carlos Manuel Rodriguez Santiago, painting on canvas, 34 x 26 inches, in the Hall of Saints, commissioned by Mons Roberto Gonzalez Nieves, Archbishop of San Juan, 2001
Inauguración del Centro de Bellas Artes Alejandro Cruz Ortiz
Guaynabo, Puerto Rico
26 marzo a 26 junio 1998
Exposición—Obras de A. Vonn Hartung
2021 Visión: Paisajes de Nuestra Tierra
Estas obras representan para mí la transmisión de una visión artística, una visión que va desarrollándose, que yo experimento en el cosmos en comunión espiritual con la cultura y la vida natural con mis vecinos.
El arte me define la puerta a esta profunda realidad: en un mundo que se mueve con demasiada rapidez, el arte es el mecanismo que nos desacelera, la luz que nos dirige, el punto que da equilibrio a nuestra estabilidad. En un mundo de ciencia enajenante y tecnología efímera, es nuestro vínculo íntimo con nuestro Creador.
Lo que me interesa es la belleza y sus tensiones: la libre caída del movimiento, los aspectos pasajeros de lo permanente, la verdad total de la cual carecemos, nuestro extraño danzar con la oscuridad, nuestro anhelo por la luz, y nuestra capacidad de fe. Lo que exploro aquí es esa belleza y sus tensiones, sus balances, sus cualidades conocidas y desconocidas. Para mí, el arte es un acto de salvación.
These works represent to me the transmission of an artistic vision. This vision is unfolding, one I experience in the cosmos through spiritual communion with the culture and natural life of my neighbors.
Art defines for me the gateway to this deeper reality: in a world that moves too fast, it is our braking mechanism, the searchlight of our direction, the balance point of our stability. In a world of detached science and ephemeral technology, it is our intimate link with our Creator.
It is beauty and its tensions that interest me: the free-falling part of motion, the fleeting aspects of permanence, the completeness of truth which we lack, our curious dance with darkness, our longing for light, and our capacity for faith. I am exploring here that beauty and its tension, its balances, its known and unknown qualities. For me, art is an act of salvation.
Portrait painting is (for me) a deep spiritual experience, a prayerful endeavor. In and through the physical characteristics of the person being painted is a map guiding me through and beyond emotions to where the soul of the person lives. Here I coax the soul out, so to speak, with whispers and fleeting glimpses of compassion, intuition, and something mystical. This hopefully endows the finished image with a FEELING of who the person being painted IS. I always speak in the present tense of portraits because they have a soul, and the soul always lives and is present. AVH
Pintar retratos es (para mí) una profunda experiencia espiritual, una labor de oración. En y a través de las características físicas de la persona pintada hay un mapa que me guía a través y más allá de las emociones, hacia donde vive el alma de la persona. Aquí, por así decirlo, saco el alma a relucir con susurros y destellos fugaces de compasión, intuición y algo místico. Espero que esto le dé a la imagen final una SENSACIÓN de quién ES la persona retratada. Siempre hablo en presente de los retratos porque tienen alma, y el alma siempre vive y está presente. AVH
Una obra definitoria llegó en el año 2001 cuando el Arzobispo de San Juan, Puerto Rico, Monseñor Roberto González Nieves, O.F.M., me encargó pintar el retrato oficial del primer Beato de Puerto Rico, Carlos Manuel Rodríguez Santiago. Se encuentra colgado en el Salón de los Santos del Pontificio Colegio Norteamericano del Vaticano.
The painting Perfect Harmony expresses the beauty that comes through music realized in the mastery of musicians; a beauty that is further enhanced when the music is shared with others. The Painting hints at a feeling that goes beyond the music. It is expressed in the complement of Harmony that blends the two into one. The Master Musicians are the brothers Porfirio at left (playing guitar) and Lile Martínez (playing “cuatro”) of the mountain town of Orocovis, Puerto Rico. The painting on the wall shows their father working the land on the Family farm. The song they sing completes the painting in “Perfect Harmony”.
The Puerto Rican cuatro is the national instrument of Puerto Rico. It belongs to the lute family of string instruments, and is guitar-like in function, but with a shape closer to that of the violin. The word cuatro means “four”, which was the total number of strings of the earliest Puerto Rican instrument known by the cuatro name. Very little is known about the exact origin of the cuatro. However, most experts believe that the cuatro has existed on the island in one form or another for about 400 years.
Orocovis is sometimes called “The Musical Capital of Puerto Rico” because many prominent Puerto Rican performers were either born or raised in the town.
La pintura Perfecta Armonía expresa la belleza que viene a través de la música realizada en el dominio de los músicos; una belleza que se mejora aún más cuando la música se comparte con otros. La pintura insinúa un sentimiento que va más allá de la música. Se expresa en el complemento de armonía que combina los dos en uno. Los maestros músicos son los hermanos Porfirio a la izquierda (tocando guitarra) y Lile Martínez (tocando “cuatro”) del pueblo montañoso de Orocovis, Puerto Rico. La pintura en la pared muestra a su padre trabajando la tierra en la granja familiar. La canción que cantan completa el cuadro en perfecta armonía.
El cuatro boricua es el instrumento nacional de Puerto Rico. Pertenece a la familia de los laúdes, es similar a la guitarra en su funcionamiento, pero su forma se asemeja más a la de un violín. La palabra “cuatro” hace referencia a las cuatro cuerdas que tenía el primer instrumento puertorriqueño conocido con ese nombre. Se sabe muy poco sobre el origen exacto del cuatro. Sin embargo, la mayoría de los expertos creen que ha existido en la isla, en una u otra forma, durante unos 400 años.
A Orocovis se le suele llamar “la capital musical de Puerto Rico” porque muchos artistas puertorriqueños de renombre nacieron o se criaron en esa localidad.
In 2001 I was deeply honored and humbled to be commissioned by the archbishop of San Juan, Monsignor Roberto González Nieves, to paint the official portrait of Blessed Carlos Manuel Rodríguez, to be given as a gift from Puerto Rico to the Pontifical North American College in Vatican City where it is exhibited in the Hall of Saints.
I was subsequently interviewed by EWTN (Eternal Word Television Network)
At the core of Blessed Carlos’ spirituality (Pope John Paul II said) was his faith in the Resurrection. He promoted the Easter Vigil as the defining moment of Christian spiritual life, repeating often, “We live for that Night.” (Vivimos para esa Noche)
Today is Earth Day. What better moment to pay homage to the noble “El Jíbaro Puertorriqueño”, the Puerto Rican cultural icon!
“El Jíbaro” symbolizes to me the “salt of the Earth”
“El Jíbaro“ Oil portrait by A.Vonn Hartung
“El Jibaro Puertorriqueño” is a painting inspired by my neighbors who have cultivated the land of their ancestors from the beginning.
Don Pepe represents for me all those who still cultivate the land; living links to our past, sustenance today, and hope for abundance and sustainability in the future.
He represents, on the one hand, the constant battle between the so-called permanence of concrete and asphalt, which is quickly engulfing our fertile land and drying up our lakes and rivers due to urban sprawl and the overwhelming dominance of the automobile as a symbol of impoverished planning.
And on the other hand, the stability and sustainability through cosmic spirituality, which, along with intact families, are our guarantee of a healthy, harmonious continuity, which must offset the suicidal (or more aptly expressed, planeticidal*) race to deplete our natural resources.
*the killing of our own planet
This painting was inspired by my neighbor Don Pepe “el Múcaro” (the Owl) O’Neill, whom I am proud to call my friend. May he rest in peace!
Hoy es “Dia de la Tierra” ¡Que mejor momento para rendir homenaje al noble “El Jíbaro Puertorriqueño“, el icono cultural puertorriqueño!
“El Jíbaro” simboliza para mi la “sal de la tierra”
“El Jíbaro Puertorriqueño” es una obra inspirada por mis vecinos que han cultivado la tierra de sus antepasados desde el principio.
Don Pepe representa para mí todos los que todavía cultivan la tierra; vínculos vivientes con nuestro pasado, sostenimiento hoy y esperanza de abundancia y sostenibilidad para el futuro.
Él representa, por un lado, la batalla constante entre la supuesta permanencia de hormigón y asfalto, que envuelva rápidamente nuestra tierra fértil y seca nuestros lagos y ríos debido a la expansión urbana y el abrumador dominio del automóvil como símbolo de la empobrecida planificación.
Y por otro lado, la estabilidad y sostenibilidad a través de la espiritualidad cósmica que, junto con las familias intactas, son nuestra garantía de una continuidad sana y armoniosa que debe contrarrestar la carrera suicida (o mejor expresada, planetacida*) por agotar nuestros recursos naturales.
*la matanza de nuestro propio planeta
Esta pintura está inspirada en mi vecino, Don Pepe “el Múcaro” O’Neill, a quien me enorgullece llamar amigo. ¡Que en paz descanse!
(“El Jíbaro” es un retrato en óleo 16″ x 20″, colección del artista)
