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.
This document is the cover of the magazine, Puerto Rico Ilustrado [Puerto Rico Illustrated], and consists of a photograph of five members of the Centro de Arte Puertorriqueño [CAP, Center for Puerto Rican Art]: Samuel Sánchez, Rafael Tufiño, Carlos Raquel Rivera, Félix Rodriguez Báez, and Lorenzo Homar, all gathered in the workshop, surrounded by oil paintings and easels.
This cover is an important record since it is one of the few photographs that remain of the group of founders of the Centro de Arte Puertorriqueño (CAP).
In 1950, Rafael Tufiño, José Antonio Torres Martinó, Félix Rodríguez Báez, and Lorenzo Homar founded the Centro de Arte Puertorriqueño (CAP). Among the range of functions fulfilled by CAP, there was a collective printmaking workshop, an art school, an exhibition space, and a meeting space. CAP’s political ideology was based on the nationalist ideas of Pedro Albizu Campos (a Puerto Rican nationalist leader) as well as the ideas of the Taller de Gráfica Popular [TGP,People’s Graphics Workshop] in Mexico, where Tufiño and other artists had studied. Its objective was to work collectively in order to create a Puerto Rican art identified with the people. The CAP objective was embodied in its first graphic art portfolio titled La estampa puertorriqueña [The Puerto Rican Print], published in 1951. For the CAP artists, printmaking was the favored medium for reaching a vast public and working collectively to that end, thus infusing a new vitality into the art of the Island.