Documents of 20th-century Latin American and Latino Art

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  • ICAA Record ID
    1151366
    AUTHOR
    Rial, José Antonio, 1911-
    TITLE
    Chacón revive y renueva un noble arte : el grabado / José Antonio Rial
    IN
    El Universal (Caracas, Venezuela). -- Dic. 11, 1966
    DESCRIPTION
    p. 5 : ill.
    LANGUAGES
    Spanish
    TYPE AND GENRE
    Journal article – notes
    BIBLIOGRAPHIC CITATION
    Rial, José Antonio. "Chacón revive y renueva un noble arte : el grabado." El Universal (Caracas, Venezuela), December 11, 1966, 5.
    NAME DESCRIPTORS
Editorial Categories [?]
Synopsis

In this interview with Venezuelan artist Luis Chacón, journalist José Antonio Rial offers an overview of his education, influences, preference in techniques, research, and proposals for engraving. He describes in detail his transition from the use of acids and chemicals to burin engraving, including what he calls “graphic metal,” a process of German artist Rudolf Nesch, which was modified by Chacón. Rial also describes some phases and series of his recent work, offering a perspective informed by the existential relationship that the artist had with engraving.

Annotations

In this article, José Antonio Rial (1911?2009), the Spanish journalist based in Venezuela, lingers on technical details of great value, emphasizing the graphic work of Luis Chacón (1927?2009), who achieved technical mastery of burin engraving. Rial describes how the artist came to question his use of chemical-based techniques and how he decided to work using a more traditional technique. The document likewise allows one to read between the lines and perceive Chacón’s need to move past this stage, after having mastered the chisel. This information is of special interest in that it allows for the placement of a later document (anonymous, “Luis Chacón: We Can No Longer Create Engravings Using the Standard from 500 Years Ago,” in El Nacional, Caracas, June 29, 1967; n.p.), wherein the artist recognizes the need to abandon the serialization of engravings. Chacón had a special connection to metal, which can be seen in his use of plates (which he molded with a chisel), but also during his transition from two dimensional to three dimensional work, starting in the 1970s (with pieces which were called “structures” instead of sculptures, that were part of his series “satellites”). Although the first printing of this article omitted a few lines, the overall meaning was maintained and the contributions made by the document attest to its value.

 

For a complementary reading, see in the ICAA digital archive by Cuban critic José Gómez Sicre “The Planets: Series of engravings,” (doc. no. 1134580); by author unknown “Chacón: hoy abren exposición” (doc. no. 1151334); and by Chacón himself “El grabado en Venezuela” (doc. no. 1143092).

Researcher
Milagros Gonzalez
Team
Fundación Mercantil, Caracas, Venezuela
Credit
José Antonio Rial, 1966
Location
Centro de Documentación. Museo de Bellas Artes de Caracas. Plaza de Los Museos, Parque los Caobos, Caracas 1010,   República Bolivariana de Venezuela. Telf:  58-212-5726841 / 5735035 / 5764028