Carlos Yusti offers a journalistic summary of Régulo Pérez’s career. The author comments on various phases and key events that nurtured his creative process; for example, he began as a painter for the lottery of animals, providing the illustrations in his hometown (Caicara); his active participation in the TLA (Taller Libre de Arte) [Free Workshop of Art] as well as the thematic and formal predilections in his work as a painter, caricaturist, and writer. Yusti lists them as: a critical sentiment, humor, figuration, color, and the presence of nature. The journalist concludes with a brief review of his current projects (1993) in which he comments on the pictorial iconography of General Piar and his activities with the “Taller del Sol y la Luna” [Sun and Moon Workshop] (en Caicara).

Reviewing the ample production and career of Régulo Pérez (b. 1929), Venezuelan painter, writer, and journalist Carlos Yusti (b. 1960) offers an interesting analysis that covers the different periods and facets of the artist, while also offering his accurate and opportune opinion on these. He introduces the reader to Pérez’s world, beginning with the biographical and contextual information that surrounds his work. He agrees with Rafael Pineda regarding his primary influences [see ICAA digital archive, “Régulo Pérez y el eje Orinoco-pintura” [Régulo Pérez and the Orinoco-Painting Axis] (Caracas: Sala de Arte Sidor, 1999) (doc. no. 1154220">1154220)]; and he discusses Pérez’s participation in the TLA (Taller Libre de Arte), citing Francisco Da Antonio and Juan Ancha; he follows the development of the characteristics of his work (as a caricaturist and writer) emphasizing his “thematic predilections” as well as his consistent ideologies. In addition to what the text offers about Pérez’s work, Yusti also compiles the most relevant opinions of important critics and art historians in Venezuela; among them, Juan Calzadilla, Roberto Guevara, Alfredo Boulton, and those previously mentioned. This document is one of the few that touches on all of [Pérez’s] work, unlike the writings of others such as Jesús Sanoja Hernández or Rafael Pineda—referenced below with regard to the ICAA digital archive—or Juan Calzadilla (“Régulo Pérez: El compromiso con la realidad”) [Regulo Perez: Commitment to Reality], who also touch on certain aspects of this artist’s work.

For more on his work, see the ICAA digital archive: the texts by Rafael Pineda, “Régulo y el eje Orinoco–Pintura” [Régulo and the Orinoco Axis: Painting] (doc. no. 1154220">1154220), and “Naturaleza y cultura” [Nature and Culture] (original excerpt from the catalogue Régulo (Caracas: Acquavella, 1981) (doc. no. 1154268); by Bélgica Rodríguez, “Un nuevo lenguaje” [A New Language] (doc. no. 1157776); by Roberto Guevara, “Régulo y la cultura visual” [Régulo and the Visual Culture] (doc. no. 1157759); the analysis by Jesús Sanoja Hernández, “Prólogo serio para el más serio de nuestros humoristas” [Serious Prologue for the Most Serious of Our Humorists] (doc. no. 1154188); by Mingui Betancourt, “Pinto vampiros porque no sé pintar flores” [I Paint Vampires Because I Do Not Know How To Paint Flowers] (doc. no. 1157808); “Conversando con Régulo Pérez: Entrevistado por Berna Parra, María Eugenia Sánchez y Margarita Villarroel” [Talking with Régulo Pérez: Interview by Berna Parra, María Eugenia Sánchez, and Margarita Villarroel (doc. no. 1154236); and the partial chronology of  Ivette Villarreal, “La salvación por la imagen” [Salvation by Image] (doc. no. 1154300)].