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.
The critic Juan Calzadilla provides a broad overview of the history of Venezuelan printmaking, from its earliest days in the nineteenth century until this essay was published in 1978. He discusses certain landmark events along the way, such as how prints were used for political satire, the introduction of modern printing, and the development of printmaking outside of Caracas. Calzadilla ends his essay with a description of the process that led to the founding of the workshop-schools, CEGRA and TAGA.
This general overview of printmaking does not probe the discipline in any great detail. This essay by the critic, curator, and artist Juan Calzadilla (b. 1931) presents a broad view of the evolution of printmaking in Venezuela. It also mentions certain landmark events along the way, such as the arrival of lithography, introduced by colonel Francisco Avendaño between 1823 and 1825, and the lecture on Francisco Goya’s prints given by Armando Reverón at the Círculo de Bellas Artes in 1914. Calzadilla’s account of the history of printmaking in Venezuela is rather simple and general in scope. It is part of a collection of leaflets on a variety of artistic disciplines in Venezuela that were written by subject experts and originally published by the OCI (Oficina Central de Información, Caracas); the collection was subsequently republished by Fundarte (Fundación para la Cultura y las Artes, Alcaldía del Municipio Libertador, Caracas).