Aruba during the 20th century underwent a dramatic transformation. From a relatively unknown tranquil and sparsely populated island to a major player in the most significant industry of the twentieth century. By the 1930s the oil industry had put this small island on the world map with its two refineries. Attracting workers from all corners of the world and paving the way for the post-second world war golden years where production experienced a threefold increase. A time of optimism and a leap forward into modernization on all aspects of Aruban life.

It is in this landscape of dramatic change and transformation that we encounter Julie Quigley Oduber (1934-2001) …her art directing us to the idyllic Aruban countryside bathed in bright sunlight and exuding an aura of peace and tranquility. Her distinct paintings can be seen as an homage to the Aruba that was in danger of being sacrificed with the onset of industry and modernization of global proportions.  Her feminine gaze offering us the beauty and delicacy of the Aruban cunucu (countryside), whilst reminding us of the simple beauty in life.

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In many ways doing what art does best, drawing our attention to the authentic island scenery that could be best identified by this outsider that would make this island her home. Becoming part of a dynamic cultural scene that sprung into existence at this moment in time, where the Aruban identity was being redefined with an emphasis on this island’s uniqueness. Through her eyes we can wander into the Aruban landscape following idyllic paths allowing us to discover the cunucu houses, surrounded by cadushi (organ cactus), dividivi trees and batholith boulders. All these elements in tranquil composition and inspiring feelings of peace, nostalgia, transcendence, tranquility, and timelessness. Through her paintings we can appreciate the authentic scenes with their singular beauty. Cultural tropes always leading us into the Aruban landscape allowing for this striking but overlooked landscape to be identified as the real essence of the island.

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It is as if through her art Julie Quigley Oduber was doing her utmost compulsive best to capture and isolate these scenes…aware of the dramatic change this island was about to undergo. An island that had experienced dramatic successes in recent industrialization and was now (mid-twentieth century) opening itself up to a brand-new industry…that of tourism. An industry that was aware of this island’s extraordinary beauty and ready to explore this new possibility. An industry that put the physical landscape of the island on center stage…pristine white beaches, rugged rock formations of the north coast, idyllic countryside, architecture, flora, and fauna were now in focus.

However, the Aruban economic boom and continuous development through of the tourism industry led to a dramatic growth in population and urbanization of the island. The Aruban cunucu landscape was slowly being pushed out to the periphery… to a point where, if not preserved as cultural heritage, might be at risk of disappearing altogether from the Aruban experience. A loss of material and immaterial cultural heritage that must not be permitted to occur.

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During this period that the Aruban landscape school came to be as the emblematic representation of Aruban art. And it is in honor of these artists…essential in the production of island identity that these valuable works of art must be preserved. Cultural patrimony that reminds us of who we are…and symbols of our shared heritage and collective memory. Pioneers such as Jean George Pandellis (Greek), and Piet Vervoordt (Dutch) were great influences on the local art scene. A decade of two after their presence and work on the island we encounter an active scene of local landscape painters such as Padu Lampe, Joannes Donata, Nildo Marchena, Leo Kuiperi, and Julie Quigley Oduber. Each one of these versatile artists adding their own unique signature style on the Aruban Art landscape. Through these artworks the Aruban identity was being redefined, and a strong sense of optimism and independence became synonymous with this island’s spirit.

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Looking back at Julie Quigley Oduber’s personal style we can discern different regional influences in her art…artist seeking to define and represent specific elements that could best represent the Caribbean Island existence. Her personal style being quite distinct from other artists. In her impressionistic scenes we feel the trade winds through her playful colorful brushstrokes and are struck by her luminous blue skies…radiant and profound. Her art offering us a pathway into the warm and friendly Aruban countryside. Scenes of tranquil beauty filled with an aura of nostalgia but also hope.

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A Boricua herself, her perspective in Aruba would be expected to show some kind of distance, however the opposite is true where through her landscapes the very essence of the Aruban scenes became palpable. Having been born in Puerto Rico on Las Piedras coffee plantation one can understand the intimate relationship to nature and countryside. But it is the move to the metropolis (New York City) at an early age with her mother America Figueroa, who was a prominent lawyer, that allowed for the exposure to the arts in a city that was claiming the status as global art capital at the time.

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Destiny would have her meet an up-and-coming young Aruban dentist, Dolfi Oduber, at eighteen years of age. Consequently, moving to Aruba and starting a family on this small island. To this day and age, she is remembered as a flamboyant and popular personage in the Aruban art scene. Her many contributions as an art collector, patron, developer of art and crafts projects, as well as being at the helm of the Padu Lampe Foundation are a testament to her lifelong commitment to the loves of her life, her husband, her family, and her beloved island’s cultural heritage. It is with her husband, local dentist Dolfi Oduber, that another significant contribution came to be, namely that of a discerning art collector and patron. Through their art purchases they amassed a significant collection of mid twentieth century Aruban landscapes… a significant stimuli and contribution to the local art scene. And further emphasizing the attention on the Aruban countryside, which needed to be appreciated for their distinct beauty and be preserved for future generations to enjoy.   

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Her impressionistic style is also indicative of the artistic influences at play in the region during the first half of the twentieth century. Having studied under tutelage of Jean George Pandellis we recognize the impressionistic painterly brush strokes Pandellis was known for. But it is also the influential Puerto Rican artist Francisco Oller as well that comes to mind. His search for the symbolic elements such as the royal palm, coconuts, and other tropical fruits that could best represent Caribbean culture is something we can also recognize in Quigley Oduber’s ouvre. A keen awareness of these authentic Aruban scenes and elements being represented through her art…elevating them to natural symbols. 

 

But it is within the context of the industrialization of the region during the twentieth century oil boom that we can draw another interesting parallel. With another artist confronted with these same oil boom dynamics and finding refuge and directing his focus to the deserted landscapes of the Caribbean coast of Venezuela. It is also within tropical luminosity and simple beauty painted by Armando Reveron that we can find a kindred spirit…expressing the emotional rather than physical experience of being in the Caribbean.

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The influence and presence of the Aruban landscape can be felt to this day. Even conceptual contemporary artist active today, still find inspiration and existential confrontation within this physical landscape…offering dramatic as well as idyllic context for their artistic explorations. An existence where a great deal of time is passed outdoors immersed within the caress of the island breeze. A seemingly peaceful place but not devoid of the complexities of modern life. Every artist in search of their peace of mind within this island refuge.

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It is here that we encounter the essence of Julie Quigley Oduber’s art, an art that is graciously offering us a pathway into the warmhearted embrace of the Aruban culture. Redirecting our gaze amidst the dramatic industrialization of mid-twentieth century Aruba to the familiar things that remind us of home. A scenery that is to be felt rather than seen. Inviting us into… a place of beauty.