Santiago Carbonell

Quito, Ecuador, 1960 -

Available Works

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There are also trends that lead to heated disputes, as is the case of what I would call traditional contemporary pictorial realism; pictorial trend sustained in the recycled style of painting running between the Renaissance and the nineteenth-century realism, including neoclassicism and romanticism. Faithful to the tradition that leads, in turn, marked differences, neither the technical nor the images or the spirit that animates or purposes are equivalent. Note also that contemporary realism incorporates, determinedly, proposals have emerged in the field of photography (in the case of Santiago Carbonell, photography after offering their services and provide us with certain image, it becomes deconstructed by procedures purely pictorial showing precisely the difference between photography and painting). Examine the potential of the faithful picture availing itself to this, the work of Santiago Carbonell. Let us start from indisputable evidence: a realist is the one who is responsible to see deeply and see others do, that is, to see what can not be seen immediately because additional artistic demands distract attention.Think that reality comprised of art is not the reality as it is, if it were art would be useless, superfluous duplicate. This means that the painter has to distance himself from the reality captured by the naked eye, then his task is to transfigure, to redeem those beings and things of mistreatment and indifference that are condemned in the instrumental-commercial-utilitarian world. Painting, making art requires the given form and rebuild what has aesthetic. To achieve this requires certain craft to combine the ability to see the background of reality, already deeply involved in the practice of painting, just have a few primary elements: brushes, spatula, colors, oil paints, fabrics and mood ready to build something in itself exceptional: the creative act. The look that pierces the backgrounds of the world is acquired through hard learning of that language in which the radical perception has been shaped essentially, I mean the history of painting: design, iconography, techniques, modes of composition, relationships between drawing and color. Santiago Carbonell assumes that initiatory experience, and it is his vision. Changing vision, of course. Hard, dry, secular painting. We could talk about realism because Santiago Carbonell no idealized, exaggerated or twisted: just captures the real. For him everything counts equally, no hierarchy. The painter leaves his gaze wander among the usual corners and small objects, and recognizes their dignity. Capture of tiny details using a traditional tight and accurate drawing, showing the work of artist faith in the things of the real world, its shades, its forms, its presence. In fidelity to their membership of the here and now circumstantial, still lifes and portraits in his paintings coexist without difficulty. Santiago Carbonell paints with the thoroughness of the artisan, and as apprentice of reality. What he gets is no little: the domain of natural painting, picking out the gifts offered up by the world that have specific and individual inclusive; reconstructs and brings to an irrevocable forms correctly. Dissatisfied with the painter achieved goes a step further, delves into the illusion, the trompe l'oeil effect, trying to catch what he titled illusion of reality. The illusion disconcerting: characters and stuff now inhabit strange and unexpected spaces. Realism becomes suprareal without being surreal and certainly Dali's influence is obvious. But careful! Carbonell does not like the symbolic, thus his starting naturalism as his suprareal bet comply with the sap of the world, hence his obsessions and optical effects are supported by an old bucket, a jug, a cigar, a glass of wine, a balloon ... Objects that do not cease to be and coexisting with self-absorbed monks or chaste and unchaste nudes. The trompe l'oeil is thus not an action for disdain the world but a contraption to draw attention to the insignificant, that is, about what, so present and near, have stopped watching. (Source: By Jorge Juanes, in the book "Santiago Carbonell")


Santiago Carbonell Main Solo Exhibitions


1985 Centro Español, Quito, Ecuador.

1986 "Santiago Carbonell", Dubose-Rein Galleries, Houston, Texas.

1992 "Santiago Carbonell", Museo de Arte Moderno, Querétaro, Mexico.

1994 "Santiago Carbonell", Museo de la Ciudad de León

1999 "Santiago Carbonell", Museo de la Ciudad de Oaxaca, Oaxaca.

2001 "Santiago Carbonell", Museo de Arte de Querétaro, Sala Permanente. Querétaro, Mexico

2002 Museo del Pueblo, Guanajuato, Mexico

2002 Casa de la Cultura, San Luis Potosi, Mexico

2003 Alfredo Ginocchio – Arte Internacional, Mexico, D.F.

2003 Centro Cultural Universitario, Universidad de San Nicolas de Hidalgo, Morelia, Michoacan

2003 Galeria Universitaria Arte Contemporaneo, Universidad Autonoma de Queretaro

2003 Museo Metropolitano de Monterrey Nuevo Leon, NL

2005 Museo Regional de Queretaro, Queretaro

2005 Museo de Arte Contemporaneo de Aguascalientes, Aguascalientes

2006 Gerald Peters Gallery, Dallas, Texas

2007 Museo Jardin Borda, Cuernavaca, Morelos

2008 Museo de Arte Contemporaneo, Celaya, Guanajuato

2009 Museo Metropolitano de Buenos Aires, Argentina

2010 Mural Conmemorativo del Bicentenario de la Independencia de Mexico y el Centenario de la Revolucion Mexicana, Suprema Corte de Justicia de la Nacion, Mexico D.F.

2010 De la Belleza al Desencanto, Museo de Bellas Artes de Toluca, Estado de Mexico

2010 De la Belleza al Desencanto, Museo de Arte de Queretaro, Queretaro

2011 De la Belleza al Desencanto, Galeria de la Universidad Autonoma de Puebla

2012 De la Belleza al Desencanto, Museo de los Pintores, Oaxaca

2013 Arqueologia de la Mirada, Museo Diego Rivera, Guanajuato

2013 Arqueologia de la Mirada, Centro Multicultural de las Artes CEMUART