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.
Mexican artist Alberto Beltrán (Mexico City, b. 1923) informs Puerto Rican printmaker Lorenzo Homar that he is retiring from journalism, and his editorial responsibilities at the supplement to El Día newspaper, El Gallo Ilustrado, in order to spend more time on his drawing. Beltrán considers drawing an important means of expression since in drawing artists can say what they want. He tells Homar that he will continue to supervise the supplement’s graphic art, though will limit his hours in order to concentrate on his work as an illustrator.
In 1958, Puerto Rican printmaker Lorenzo Homar traveled to Mexico City as part of the delegation of Puerto Rican artists participating in the I Bienal Interamericana de Pintura y Grabado[First Biennial of Inter-American Painting and Printmaking]. The members of the Taller de Gráfica Popular [TGP, People’s Graphic Workshop] gave a warm reception to the artists from Puerto Rico. While in Mexico City, Homar met Leopoldo Méndez, Mariana Yampolsky, Arturo García Bustos, Alberto Beltrán, and many other graphic artists. After his return, Homar and Alberto Beltrán (1923–2002) continued to be friends. There are many letters between the two men in Lorenzo Homar’s archive.
For the delegation of Puerto Rican artists, the trip to Mexico represented a great opportunity to come into contact with new forms of expression and ideas since all the countries in the region participated in the biennial. In addition to Homar, the Puerto Rican artists who traveled to Mexico on this occasion were Augusto Marín, José Antonio Torres Martinó, Rafael Tufiño, Eduardo Vera, Manuel Hernández Acevedo, Carlos Raquel Rivera, Antonio Maldonado, Isabel Bernal, José Manuel Figueroa, and Carlos Osorio. Writers Emilio Díaz Valcárcel, Pedro Juan Soto, and René Marqués also went along, accompanied by Ricardo Alegría, the director of the Instituto de Cultura Puertorriqueña (ICP) at the time.
Lorenzo Homar (San Juan, 1913–2004) was a printmaker, poster artist, calligrapher, book illustrator, set and clothing designer, and mentor to a whole generation of Puerto Rican printmakers. From 1952 to 1957, he was the director of the Taller de Gráfica [Graphics Workshop] at the División de Educación de la Comunidad (DIVEDCO). In 1955, he organized the Taller de Gráfica at the Instituto de Cultura Puertorriqueña (ICP), where he remained until 1973. Later, he worked in his own studio, where he experimented with and perfected the silkscreen technique.