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 Puerto Rican writer, Wilfredo Braschi, speaks of “arte nuevo” and its reception (sometimes with reticence) by both art appreciators and scholars. Braschi believes that the Puerto Rican artist, José Antonio Torres Martinó, is a “pintor nuevo” [modern painter]. That is, while his work continues to have a regional flavor, it is unquestionably universal. Moreover, his paintings address the matter of what it is to be Puerto Rican, but in Braschi’s opinion, his figurative work may also be relevant to other parts of the world. The writer comments on some of Torres Martinó’s works: El enfermo [Sick Man], Maternidad [Motherhood], Crimen [Crime], Cándida, Niño [Kid], Mujer [Woman], and Soldado [Soldier].
José A. Torres Martinó (Ponce, born 1916) is considered the ideological leader of the generation born in the 1950s in Puerto Rico. As such, he was among those who defended the creation of an autonomous artistic movement in Puerto Rico. He also played an active role as arts educator and promoter of the graphic arts. In 1969, he founded and taught at the Taller de Diseño Gráfico [Graphic Design Workshop] de la Escuela de Arquitectura de la Universidad de Puerto Rico. Working with the artist Myrna Báez, he founded the Hermandad de Artistas Gráficos de Puerto Rico in 1981. The reason for organizing this group of artists was to protest against government intervention in cultural matters at the time.