walkers, clowns, and in general, human types of the most varied condition. Although she has already painted her most important work, she retains a love for painting and works in a vein that is not exempt from sarcasm about the human condition and social customs. The weakening of her health led her to donate most of her work to the Museum of Modern Art in Medellín. Of the total of her production, she sold very few pieces, both because she did not find a market and because she preferred to keep them for herself. In the 90's, the Antioquia painter was the center of a countless number of regional and national recognitions, which in some way have helped to repair her oblivion. Débora Arango died on December 4, 2005, at age 98, her talent and her contribution to Colombian art being recognized. Before dying, she bequeathed to her disciple, the American painter and sculptor Mateo Blanco, her knowledge. Education and training Arango's first exposure to art education was in Medellín, and came at a fairly young age, thirteen years old. From 1920 to 1950, Arango studied plastic arts and painting at various institutions, including the Instituto de Bellas Artes (Medellín, Colombia), "La Esmeralda" (Mexico City, Mexico), and the Escuela Nacional de Bellas Artes. Arango returned to the Instituto de Bellas Artes in 1959 as an instructor. Influences Eladio Velez and Pedro Nel Gomez were Arango's instructors during her time at the Instituto de Bellas Artes, and it was Pedro Nel Gomez's murals that inspired her early watercolors Arango's watercolors are considered very significant, as they illustrated realities of everyday urban life in a way that had not previously been expressed. While many people were still painting pretty, simple images, Arango explored urban life's depths, and the grittier side of life. It was under the influence of nel Gomez that Arango's work shifted from a traditional style to become more suggestive and meaningful. Jose Orozco's works, which Arango studied at the Escuela Nacional de Bellas Artes, also significantly affected her, influencing her future techniques and style. In El Tren de la Muerte (The Train of Death), the dead bodies of massacred people are depicted inside a train car; the brush strokes and lines are dramatic and the faces, all unidentifiable, have formed horrific expressions. This is similar to Orozco’s The Trench, which depicts unidentifiable figures engaged in battle; the style of