Journalist Jesús Sanoja Hernández analyzes (describes, assesses, studies) the part of Régulo Pérez’s artistic production as a humorist. He defines his characteristic sense of humor, filled with “historical ironies” and “working-class fatigue” in which the defense of Venezuelan identity in all its heterogeneity stands out. He identifies the iconographic and conceptual elements that make up his caricatures: fauna, flora, objects, and landscape, among others, and lists the publications for which he has served as a caricaturist.

Venezuelan poet and journalist Jesús Sanoja Hernández (1930–2007) analyzes the work of Régulo Pérez (b. 1929), for his exhibition Humor e ilustración [Humor and Illustration] (Caracas: Museo de Arte Contemporáneo, 1982), held at the Sala Ipostel in Caracas. The author offers this study from a perspective rooted in human psychology, describing Régulo as a humorist and caricaturist; he does so by using a theory of the four humors (studied by Herbert Marcuse). Sanoja does not classify Régulo within any of them; on the contrary, he defends the intelligence of this artist’s humor, situating him in what he defines as “vitriolic humor,” from whose sarcasm emanates a “visual consistency” that instead of deforming, as common caricature does, actually reflects the “societal figure.” Sanoja also lists ideological, conceptual, and formal characteristics used by Régulo in his work as a humorist: among others, “historical ironies,” “working-class fatigue,” “the identity of the nation,” flora, fauna, and objects created based on a pure drawing. The text is important for the study of his [Régulo’s] work given that this aspect (the humoristic) is not often analyzed with Sanoja Hernández’s lucidity and depth, although it is usually mentioned when one speaks of his work.

[With regard to Pérez’s 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), and “Naturaleza y cultura (texto original tomado del catálogo Régulo en Acquavella, Caracas, 1981)” [Nature and Culture (original text taken from the catalogue Régulo in Acquavella, Caracas, 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 Visual Culture] (doc. no. 1157759); by Carlos Yusti, “Régulo Pérez o la múltiple actividad creadora” [Régulo  Pérez and the Multiple Creative Act] (doc. no. 1154156); 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: Interviewed 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)].