MINOR revolution in the painting by Robert Ossaye By: Fernando Urea Rib Guatemalan Few painters embraced the themed social experimentaciny Ossaye Roberto (1927-1954). Ossaye painting, gone out of time, is a formal elaboration of rich, and bold execution. l visiny had the courage of kinship with the European currency to the best of the pictorial tradition in Guatemala, and Latin America. The painting of Roberto Ossaye imposed gradually but intensively, compared to the teaching of virtuous regionalist the likes of Alfredo Glvez Surez, Humberto Garavito, Jaime and Carmen Arimany Pettersen. The time at which it develops and matures Ossaye work was conducive to change. Do not forget that the art was then the only safe haven from the intolerant and intolerable dictatorship of General Ubico. Painters such as Antonio Tejeda and Ovidio Rodas Corzo try to approach this vision that reflected the awe in front of the horror and terror of war and state violence in contempt. The dictatorship of General Ubico (1931-1944) though more briefly, runs parallel to the Dominican General Rafael Trujillo and like this one, Ubico TREATY IS leaked prevent the influence of Mexican mural art and the strong p public. Suro in the Dominican Republic, Cuba, against Batista, Wilfredo Lam and Guatemala Ossaye, perhaps unknown undertake similar paths to overflow the limits set by the official aesthetic. Roberto Ossaye within the canvas creates its own revolution. A struggle that manifests itself in a fuss, in chromatic or climatic screaming outbursts exaltacin. His work has the weight and force of a well planned disensin, concrete and final. The terror of the dictatorship of Ubico is reflected in the faces that surround the cry and pain. The conflict are not the representation of armed men, but men who swallow their tears and austere expect the moment of impact. These visual games were easily detectable by Guatemalan officers. But in its way, Roberto Ossaye fight and win a silent revolution, numb to the canvas and the portrait of a society troubled but vital and powerful. But the critic is interested in much more formal aspects of the work that circumstantial. And Roberto Ossaye alldonde learned to strike a balance between substance and form, between container and content. Because from the formal point of view, the work of rene Ossaye the virtues of execution quality, creative vision and an aesthetic conception of man from pain and death. However, there remains ah, transcends the immediate reality and leads us to a vision of the world we prevail, especially, justice and truth. It's amazing how the ingenious visual kaleidoscope of Roberto Ossaye can both work together in a Latin American modernity, like the cry of Indian epic failed and the most authentic and singing enrgico indignation against the cruelty of time. Roberto Ossaye is silent as a fighter, a lawyer for some lost causes, a light that shakes consciences and reiterates the need for changes or index points his accusing the ogres of violence and incomprehension. Ossaye's work is less known outside Guatemala of what will be assumed given the importance and significance of its creative members. But in Latin American culture shock effect of politicians and dictators, clouding the fate of the great lights and deafening cries of warning. Ossaye painting is comparable to that of a Rufino Tamayo, a Guayasamn, a Wilfredo Lam, a Obregn, and finally, so many other teachers who bet on the power of the image and pointed from all the serious shortcomings of our society.