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.
This text by Venezuelan writer María Fernanda Palacios offers perspective on the development of engraving in Venezuela in the 1960s in light of the activity of El Taller de Luisa Palacios, who was her mother. She relates the beginnings of the workshop, telling its history. She describes the Taller not as a school, nor a group of intellectuals, but instead as a place of work that offered the opportunity to learn techniques, although in a way that always respected creative freedom. The writer emphasizes the importance the Taller placed on rigor, order, and discipline in the execution of engraving. She points out how this workspace answered different needs, not only pedagogical ones with regard to the art of engraving, but also in the education of artists capable of developing and placing their own stamp on their work. This was not yet the norm in Venezuela, either due to the lack of tradition or of workshops. The text also shows how engraving begins to take on a leadership role with regard to Venezuelan visual art through the activities of the Taller.
Writer María Fernanda Palacios (b. 1945) was a witness to El Taller, which was named after her mother, “Luisa Palacios” (1923–90), given that she lived the events recounted in the text. Because the Taller was located in Palacios’s house, she got to know the artists and lived through the founding and consolidation of the Luisa Palacios Taller. The writer analyzes the importance and influence of what occurred in her home through the years; the story, which is extensive (it consists of three parts published on the same day, in the same periodical), appeared in September 1990, a few days after the death of Luisa Palacios.
This text was published before the book on the same topic by María Fernanda Palacios, El movimiento del grabado en Venezuela. Una memoria (Caracas: Comisión de Estudios de Postgrado, Facultad de Humanidades y Educación, UCV, 2003).