Uruguayan artist Carlos Pérez Franco begin drawing at an early age, including a stint as a caricaturist for a local Montevideo paper. Inspired by modern masters and the Torres Garcia school that flourished in Uruguay and Europe during the period, he perfected his painting skills parallel to his high school and architectural studies.

Very few works from the pre-80s period can be found on the market today, but we do have some fine drawings and small paintings from the mid-60s through the early 90s, most of which were painted in either Uruguay or in Venezuela while Pérez Franco worked as a university professor of architecture and as Head of the TALA Design Studio at the University of Zulia. After a massive computer catastrophe in 2007, records and images of those works are difficult to find.

In the late 80s and the 90s, Pérez Franco split his time between Venezuela, Florida and his native Uruguay. This period was arguably his most productive and successful to date. Frequent international gallery exhibits, important museum placements and steady critical appraise led to a vibrant market for his works. During this time, the artist painted hundreds of pieces on canvas and paper, a small collection of which we are fortunate to still have. They can be viewed in the "Artworks" section along with some of his most recent available works from this decade.

The "Archives" section pertains to works that are previously sold, donated, museum-placed or unavailable for a variety of reasons include theft or damage. We would love to expand this section as much as possible for historical purposes as we attempt to catalog the artist's canon of work. If you are an owner or recipient of a Pérez Franco painting or drawing, please send us a digital image of the piece(s) along with any pertinent data so that we may add it to this online archive. Feel free to Contact us at your convenience and we will send you an email link for submitting images.

As time permits we will be adding images and commentaries to this Archive Section to enrich the reader's understanding of Pérez Franco's legacy.


After a brief period during which he painted primarily small and medium-sized works, Perez Franco embarked upon a series of expansive canvasses of up to ten feet in length. In figurative paintings of such large dimensions, focus may be dominated by almost life-sized forms or vast areas of uniform color that can confound a composition and shroud contextual intent if not implemented properly. Perez-Franco's design theories shine in this format.

Never a realist, as objects and forms approach real-life proportions, he intensifies his trademark figurative distortion to maintain control of balance and focus, preferring basic lineage and outlines to define the elements of his vision rather than represent them accurately. To avoid overwhelming the observer with imposing glares, Perez-Franco offsets the faces slightly, thus retaining the non-confrontational, inviting qualities that characterize much of his work. Colors, while still rich, are tempered slightly and blended uniformly to avoid clashes as the mind registers changes slower than the eye when traversing extensive areas.



"...Perez-Franco injects his soul into receptive subjects, relaying a positive message through incarnate figures and stimulating forms..."   Prof. Paul Leiber Ph.D.

"...Perez-Franco offers an intense portrayal of our society, capturing the essence and subtleties of each diverse segment of its complex heritage, crystallizing natural human emotions and extracting even the most minute traces of beauty and grace from places that nary an untrained eye could."   Victor Fuenmayor, Ph.D.


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