Reinier Domínguez Cobelo

Reinier Domínguez Cobelo

Matanzas, Cuba, 1989


Studies and formation:


Collective expositions:

2020  “Points of view”. “Lorenzo Padilla” Gallery. Office of the Conservator of the city of Matanzas. Cuba.

2014  Collective exposition of paint in the 2014 courses graduation.


2014  Certificate of the painting course in the ACAA since the November 1 of 2013 to December 10 of 2014.

2013  Certificate of the drawing course in the ACAA (Association of Cuban Artist and Artisan) since October 4 of 2012 to October 15 of 2013

Mention in the competition “Urbanization” of painting and drawing of the culture house Juan Gualberto Gómez.

2012  Recognition for the participation in the activities of the culture house.

Critical analysis of his ouevre.


If the Havana streets painted by Reinier Domínguez Cobelo had found the warm shelter of a great mecenas or a powerful institution, maybe nobody would be opposed to legitimation of the peculiar aesthetic of this self-taught creator, beyond the pleasure of a growing public. The formal features of the works or the artistic talent are subordinated to the way in which they are related with perceivers in many occasions. The values judgements depend then on the circulation space and consumption of the art pieces and not of the intrinsic qualities of the same ones. This is how works a significant part of the present cultural practice, but it isn’t unquestionable by that.

The classification or study of its work can be carried out by two different roads: his access way to the art and the topics that he use in his canvases. There is no doubts, the cloths, pigments and paintbrushes became a modus vivendi for this young who barely has received indications of how to proceed in face of an easel. The motivation is not a worthless fact and the aim has marked the way in which Reinier faces the creative process, not only in the details of the execution but even in the time used by him in order to achieve a profitable result.

However, he is a palpable case of innate talent and evolution. Havana’s balconies and the almendrones (vintage cars) became the Muscovite bulbous domes or the Opera of Sidney; the Cuban countrysides in snowy picks or European cliffs and the Caribbean seascapes in beaches, resorts and cities on the edge of the Mediterranean. All of this without arriving to thirty years nor exceeding the “island borders”. Photography has been both a guide and a stimulus to “travel” to such distant geographies thanks to the difficult technique of the spatula.

At his workshop you can observe the traces of learning, in which exist notable differences between one stage and another. The use of pure colors is one of his identity hallmarks and at the same time one of the most controversial issues, because they are also affected by their temperature. The peculiar mode in which Reinier uses them in the composition causes strange effects of perspective, of superimposed planes, without affecting the volumetry that he achieves with the pigments fillings. Urban and rural landscapes show details of marked impressionist and post-impressionist character that are diluted later.

His pictorial vision is conditioned by the common antiacademic denominator of naive art, perhaps with the influence of digital media on contemporary visuality, perception and taste. It is possible to compare him with a personality that have something in common with him: the French Henri Rousseau, an indisputable figure of  the naives artists in XIXth century. There is a parallel in the mentioned treatment of the planes of the composition and in the way in which Le Douanier (Customs officer) was inspired by illustrations. But he distances himself from Rousseau in technique, volume, topics and in the own process of growth that has brought him near to artists as Chilean Fernando Morales Jordan. Sometimes it reminds the city representations painted by Portocarrero.

The best urban scenes of Reinier don’t have a lot to envy to those of this last and multi-awarded artist. This young from Matanzas, shows his own intuitive style, which interprets the image used by him as a guide and ignores the limits imposed by the “correction”. This brings a touch of freshness and beauty to his work, which overcomes those of several acclaimed creators and one can guess the latent capacity of a natural artist who will give so much more of itself on his work.

Carlos R. Escala Fernández