Documents of 20th-century Latin American and Latino Art

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Synopsis

In this letter to Uruguayan artist Antonio Frasconi, Lorenzo Homar comments on a number of topics: his resignation from the Instituto de Cultura Puertorriqueña (ICP); issues related to the Portafolio Casals and Luigi Marrozzini; and the request he had made to Ricardo Alegría, director of the ICP, that the Puerto Rican prize at the Bienal de San Juan de Grabado Latinoamericano [Latin American Print Biennial, San Juan] not be called the “National Prize.” He also informs Frasconi that he was unable to accept Mariano Rodríguez’s invitation to travel to Cuba because he had committed to giving a workshop at the Universidad Interamericana de San Germán, Puerto Rico.

Annotations

Lorenzo Homar (San Juan, 1913-2004) organized in 1957 the Taller de Gráfica [Graphics Workshop] at the Instituto de Cultura Puertorriqueña, which he directed until his resignation in 1973. Some of the foremost artists of Puerto Rican art studied printmaking techniques in this workshop. Homar inspired in them dedication and love for the art, for, as he once said: “There is no vocation without discipline, and without discipline there can be no freedom in art, or elsewhere.” Homar was one of the organizers of the First Bienal de San Juan del Grabado Latinoamericano held in 1970. He developed the technique of silkscreen and offered numerous workshops in and outside Puerto Rico.

In 1972, the Universidad Interamericana de San Germán hired Lorenzo Homar to give a workshop on silkscreen techniques and printing, which led Homar to stay in San Germán for one month.

 

Researcher
Flavia Marichal Lugo.
Team
Museo de Historia, Antropología y Arte, Universidad de Puerto Rico, San Juan, Puerto Rico
Credit
Courtesy of the private archives of Laura Homar Dämm and Susan Homar Dämm, San Juan, Puerto Rico.