Paul Giudicelli celebrates his first Individual exposition in the National Art Gallery of Bellas Artes on December 12th 1953, by that time, we can assure, he was a very popular artist, mainly in the circles interested on plastic's art in the Dominican Republic. He was a very complete artist, his strong conviction about the topics and structure of his pictures, located him, since his first attempt, as the artist introductory of modernism in the Dominican Plastics' Art.
"Characteristics are his paintings of human groups. In this work the main subject is always the dynamic rhythm of a collective being that is dissolved by a synchronization of movements and expressions, a result of individual dignity. Not being a caricaturist nor ironic nor satiric, a panic sensation of horror comes out from this work that is very difficult to express with less literature and less tendency, the sad condition of all the human flock. The logical antithesis of that collective vision is the isolated man that should reveal himself as possessor of a spiritual holiness only equal to the emptiness it had before. But the painter following his intuition focuses the man alone, real and without his appearance, can't discover more than an almost doted aspect, result of a structural inability of posses himself. All his expressionist efforts show very clear the residual or rudimentary character of these beings."
Before his second Individual exposition in July of 1953, Giudicelli talked about his pieces:
"Apocalypses: is a work with a symbolic realism. In this is expressed brutally the eternal fight between man and man. All the composition is created around an exaggeration that seems a significant whirlwind and elevated to an universal category, having as inspirational source the Biblical topic of the fallen of the condemned".
About this exposition, opened in the Bellas Artes Palace in May 10, 1957, we found the following information "an exposition of 55 oil-paintings, 5 water-colors, one gouache and 8 drawings is essentially modern, synthetic realism, but with predominate of the ethnic-social an psychological aspects.
Paul Giudicelli offers a work full of life of an extraordinary human value, the artist catch the essence of our soul. Is a subjective painting of brilliant and suggestive colors that follows the stories of the titles: Archer's fight, Sugar cane's cutters, Ball's players, Watermelon's eaters, etc. But this reference to the immediate real is only suggested to be over the story value, the pictorial value of his work, his painting is very original and shows an artist with a real vocation.
Articulated desarticulation. Universal and authentic. With a firm drawing and liberty of color, presents oil paintings, and he shows his anxiety of an artist that knows how to follow straight paths, inside the modern patterns of art.
In the drawings and the tiles that he also exposes we can see the dynamic change of his line wishing to express the progressive movement of the subjects interpreted, separating it of their initial static.
During this year we can assure that Giudicelli was already a high exponent of the Dominican plastic arts, proposed like that by many important critics of the time -Valldeperes, Contin Aybar, Aida Cartagena- analysts that followed very close his evolution. And they considered that Giudicelli had obtained a very complete, defined, professional and his very own language.
His 4th individual exposition is presented 4 months later, May 19th, 1959 at the San Cristobal Town hall, by that time it was the National House of the Dominican Political Party, the only political party allowed to exist during Trujillo's Government. The Giudicelli's exposition was part of the Anniversary ceremony of the 29th year of Trujillo's dictatorship.
Naturally, this political exposition had not critical opinions and we suppose that the critics had not many new things to say about Giudicelli' s work because of the short time between this exposition and the 3rd one.
The total of the pieces exposed was around 70, and through them is advised clearly the synthetic evolution of this great painter from San Pedro de Macorís.
The First we can observe, in Giudicelli's global work, is the size of his greatness. This greatness can't be imitated and conquered, but that was imposed to the perfection of his work and style. It grows from young master and statically restless, elaborated with a long process of elimination and synthesis. We observe also the love of the artist for the richness and penetration of the color always dull, that always delight with the beauty of the rich material and inside a wide freedom of elaboration, having the reiteration that takes to perfection.
Only 26 artists participated in this contest, the results of this Biennial are the bases of our best painting, drawing and sculpting. Not only because Paul Giudicelli won the first prize in drawing, but he shared other prizes with Eligio Pichardo (1st prize of Painting) and Gaspar Mario Cruz (1st prize in Sculpting) both of them masters of our plastics history.
Even this Biennial didn't have many pieces for the exposition, the quality was very good, showing that the Dominican artist is developing his skills. In this contest art is fulfilling the Dominican environment, the enthusiasm of a new national conscience and also is full with everything, inside all tendencies and the most modern postulates of art. This Biennial was determinant to make changes related to the work that was produced before and the bases of this change was modernism.
In 1960, something to reinforce the acceptance of Giudicelli' s difficult art was receiving the 1st prize of Painting at the X Biennial. This prize didn't come alone. The same group of the IX National Biennial of Plastics Art of 1958 also won. Eligio Pichardo 2nd Prize of Painting and Mario Cruz 2nd prize of Sculpting. Winning for a second time reinforced the paths of the Dominican plastics finding a contemporary face of its own, starting with the IX Biennial.