【榮譽】
“FIRST PLACE HUMAN FICGURE”, Broward Art Guild, Florida, Lauderdale, USA. Febrero 08, 2008.“THE BEST OF 123SOHO 2006 AWARD”, BY 123soho.com Inc., New York, USA, Setiembre 15, 2006.
“International Art Contest SOHO 1998”, BY Agora Gallery, New York, USA. 1998.
First prize , Mural (Bellas Artes) Lima Peru (1985).
Prize: International Art Contest-1998, Soho, New York (1999).
prize: 'The Best 123 soho 2006 Award', New York, 2006
Central Ricerche e Divulgazione Culturale Center, Itatly (1989).
Peru Consulate, Iquique,Chile (1991).
Visual image, UNICEF, New York (1994).
USA Embassy, Lima (1995). Cancer Institute, Lima, (1998).
rt 2000, for Jain Marunouchi Gallery, New York (1999)
rt Crowd Magazine, New York (1999)
Qbix Magazine, 'Fantasy arts', Philadelphia,2007, USA.
【藝評】
【Jorge ErnestoIbañez Vergara】The painter, clings to the figurative support of his work, freely travels his stylistic project, without stopping in corseted disquisitions, letting the imaginary flow harmoniously with borrowed airs of reality, so that the magical surreal prevails, favoring the presence of an original work of own signs.
Scene that suggests intentionality with an air of subtle eroticism, in the midst of a scenic delirium, where two butterflies simulate carrying like a child's kite the fabric that makes an improvised mask to the nymph while standing, leaving the imagination free to feel the touch of the skin of the female lying down; the scene fragments the plane giving the sensation that it is on the sea; two little birds participate in the game, one that observes and another one that seems to have the key in the end of the thread that holds with the beak so that the scene lasts; in the background, silent witnesses a serene sea and a multicolored sky that silently accompanies the allegory.
Imaginary characters, bathed in fantasy, emulating candid harlequins, dream beings entertained in activities, simple, dispersion, leisure, fairytale characters, dream carnival, dressed in festive colors, characters that populate the painter's fantastic world.
In this work, the rich coloring in the composition, denotes a luminous conception of its purpose, which runs through harmonious schemes that flirt the decorative; where the painter with a firm line leaves evidence of his mastery of academics to establish his own pictorial concept, strengthening his attitude in the imagination for his task, ideas that he effectively solves with recreations that allow him to show off his skill in handling color and the form.
José de la Barra, navigates in the lines of the figures, induced by intentions of primordial harmonization, which enriches with the intensity of the color that prevails over expression factors; the color on and in harmonious contrasts at the same time, gives it a mystical air, maintaining a slight fantastic inclination, fresh and refreshing.
畫家，執著於自己的工作比喻寄託，自由行的文體項目，不停止在胸衣離題，讓想像與現實借來的空氣流和諧為準超現實的神奇，有利於存在自己標誌的原創作品。
場景是暗示微妙色情意向空氣，一片風景優美的譫妄，其中兩隻蝴蝶模擬採取風箏的孩子面料製作的簡易面膜若蟲站立，留下自由的想像去感受觸摸女性的皮膚躺下;這個場景將飛機劃破，讓人感覺它在海上;兩隻小鳥參加了這場比賽，一隻觀察著另一隻鳥，它似乎在線頭的尾端留下了一把鑰匙，以便場面持續;在背景中，靜靜的目睹了一片寧靜的大海和一個默默陪伴著寓言的五彩天空。
虛構人物，沐浴幻想，模仿樸實丑角，搞活動，簡單，分散，娛樂，童話人物，夢幻般的狂歡節，在喜慶的顏色，生活於畫家的幻想世界中人物穿著的夢想眾生。
在這部作品中，構圖中的色彩豐富，表達了其目的的發光概念，它貫穿於調和裝飾的和諧計劃中;在畫家堅定線記錄了他的學者掌握建立自己的繪畫理念，加強其態度想像它的使命，理念與娛樂活動，使他們的技能的陳列宣傳在處理色彩有效地解決和形式。
José de la Barra 著重在人物的線條，由原始和諧的意圖引發，這種意圖豐富了表情因素占主導地位的色彩強度；在同一時間的顏色和和諧的對比，給它一個神秘的空氣，保持輕微的夢幻般的傾向，清新爽快。
