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In this article Mara Comerlati reviews the exhibition of prints by the visual artist Pedro Ángel González (1901–81). The journalist describes the exhibition at the TAGA (Taller de Artistas Gráficos Asociados) as a reunion with González and his work, underscoring the significance of both the work and the artist, whom she rates as a pioneer in the field of Venezuelan printmaking. She stresses the importance of González’s interpretation of the paradigmatic realist work Pentesilea by Arturo Michelena, and mentions that there was a new edition of seventy copies for sale. Comerlati lists the titles of several of the works at the exhibition and explains how they relate to the artist’s personal experience. She also mentions a group of invited artists (all González’s students) whose works paid tribute to their teacher.
In June 1983, two years after the Venezuelan visual artist’s death, Mara Comerlati (b. 1952) wrote this newspaper article in which she reviews La obra gráfica de Pedro Ángel González, the exhibition organized as a tribute by the TAGA. This review is important for several reasons; in addition to providing specific details about the exhibition, it also includes information that would be of interest to later researchers into the work of Pedro Ángel González (1901–81), referring to authors who have written about him, such as Rafael Pineda, who wrote the introductory essay for the exhibition’s book-catalogue. Comerlati also identifies the private collectors who loaned their works for this event, a useful tip for those seeking to find them and research their origins.
For more information on the TAGA, see by Bélgica Rodríguez “El TAGA: un sueño de verdad” [doc. no. 1068980]; by Zuleiva Vivas “La Huella del grabado” [doc. no. 1101476]; and by Mara Comerlati “El TAGA le ofrece al artista la libertad de crear” [doc. no. 1101412], and “El TAGA aspira a ser la casa del artista gráfico venezolano” [doc. no. 1081133].