The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
In this text, the writer, Marimar Benítez, explains that in order to be a painter, Francisco Rodón functions based on rituals: the ritual of the painting[, itself,] and the ritual of the revelation of the work. Some of his works have been rejected by the public figures he painted. Rodón paints with a scalpel and his method is time-consuming; although he is constantly painting, he produces very few works. He takes his time to complete each work, in a process that includes many changes.
Francisco Rodón (born in San Sebastián, PR, in 1934) studied in Paris, Madrid and the United States. In 1959, he returned to Puerto Rico and began his graphic art training with Lorenzo Homar in the Taller de Gráfica [Graphic Art Workshop] at the Instituto de Cultura Puertorriqueña [Institute of Puerto Rican Culture]. Rodón has received numerous prizes, and his work has been recognized internationally. His most distinguished work is painted portraiture.The exhibition, Personajes de Rodón [Rodon’s Public Figures] was held at el Museo de la Universidad de Puerto Rico [the Museum of the University of Puerto Rico] from December 2, 1983, to January 31, 1984. There were 15 works shown, including portraits of Marta Traba, Rosario Ferré, Rubén Darío, Borges, Luis Muñoz Marín, Rómulo Betancourt, Juan Rulfo, Vaslaw Nijinsky, Alicia Alonso, and Philippe de Montebello.