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.
Distinguished Puerto Rican writer René Marqués discusses recent prints by Rafael Tufiño, which he finds less aggressive and dramatic and more sentimental and nostalgic than Tufiño’s earlier work. Marqués begins by describing the first phase of Tufiño’s production, emphasizing that the source of Tufiño’s powerful early representations of the human figure lay in Mexican art. Later, Tufiño began working in the woodcut medium, with which he produced work more refined in both theme and technique. According to Marqués, the theme of motherhood and the idealization of the female figure predominate in Tufiño’s new work.
In the 1950s, Puerto Rican artist Rafael Tufiño (Brooklyn, New York 1922–San Juan 2008) produced an extensive body of graphic work in the linocut medium. In 1963, motivated by his wife—North American printmaker Bonnie Reissman—Tufiño made a series of woodcuts that was exhibited at the Galería Colibrí from November 1 to December 7 of that year. The themes of motherhood, intimacy, and nostalgia were fundamental to that series. Tufiño also introduced color in the prints Arrullo [Lullaby] and El Tefo. The prints exhibited in the 1963 show included Allende [On the Other Side], Bárbara [Barbara], Desnudo I [Nude I], Un besito [A Little Kiss], Loíza Aldea [Loiza Village], Ceiba centenaria [Hundred-Year-Old Ceiba Tree], Café Cyrano, and many others.