Plástica (San Juan, Puerto Rico: Liga de Estudiantes de Arte de San Juan). -- no. 9 (Ago. 1982)
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 Argentine critic Damián Bayón writes about two El Greco exhibitions in Spain: El Greco de Toledo [El Greco of Toledo] at the Museo del Prado (Madrid), and El Toledo de El Greco [The Toledo of El Greco] in the city of Tajo (Ronda, Málaga). He briefly outlines El Greco’s life in Venice and Rome as well as in Spain (Toledo). Bayón mentions that the Catholic King Philip II never understood El Greco’s work, which is why he had to remain in Toledo and accept commissions from private clients. Bayón has no doubt that El Greco was an extremely important painter in the history of Spanish art.
Damián Carlos Bayón (1915–1995) was a visiting professor of art history at the University of Puerto Rico at Río Piedras campus from 1953 to 1958. In January 1954 he delivered two lectures, “Arquitectura y Paisaje en Europa: Francia, España, Italia” [Architecture and Landscape in Europe: France, Spain, and Italy] and “La concepción del espacio en la pintura antigua y moderna” [The Conception of Space in Ancient and Modern Painting]. From June 1955 through January 1956, he traveled in Europe, gathering material for his classes while on paid leave from the University of Puerto Rico. He would then draw on that material to write on the visual arts.His contract was cancelled, effective August 18, 1958. (Inactive dossier, First batch, Box B-41, Central Archive, University of Puerto Rico at Río Piedras campus). Plástica magazine, where this review was published, was an art publication that appeared fairly regularly in Puerto Rico. It began modestly enough in 1968, as the newsletter of the Liga de arte de San Juan [San Juan Art League], but changed its name in 1978 to Plástica revista de la Liga de estudiantes de San Juan [San Juan Student League Visual Arts Magazine]. Its very specific title notwithstanding, the twenty-one issues of the magazine explored a wide range of subjects within the broad parameters of Puerto Rican and Latin American art, filling its pages with retrospective coverage of subjects, such as the V Bienal de San Juan del grabado latinoamericano y del Caribe [5th San Juan Biennial of Latin American and Caribbean Prints] (1981), Puerto Rican architecre, and Latin American visual arts. The first editorial board of the magazine included Hélène Saldaña, Delta Picó, Cordelia Buitrago, and J.M. García Segovia. In addition to the many essays written by top Puerto Rican thinkers, the magazine published contributions from some of the leading Latin American artists and critics, such as Luis Camnitzer, Damián Bayón, Jacqueline Barnitz, Samuel Cherson, Joseph Alsop, Omar Rayo, and Ricardo Pau Llosa, among many others.