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  • ICAA Record ID
    866665
    TITLE
    La realidad en la gráfica de Myrna Báez / Marimar Benítez
    DESCRIPTION
    p. 23 - 24
    LANGUAGES
    Spanish
    TYPE AND GENRE
    Book/pamphlet article – Essays
    BIBLIOGRAPHIC CITATION
    Benítez, Marimar. “La realidad en la gráfica de Myrna Báez.”  Nueva York: Museo del Barrio, 1982.
     
    TOPIC DESCRIPTORS
    NAME DESCRIPTORS
    GEOGRAPHIC DESCRIPTORS
Synopsis

In this text, Puerto Rican art historian Marimar Benítez states that most of Myrna Báez’s graphic production from the seventies and early eighties made use of silkscreen, holograph, and etching techniques. Benítez asserts that Báez’s graphic work from a given period is always related to her painting from the same period. Benítez claims that Báez’s work on the themes of the landscape, the nude, and the human figure in general evidences her attempt to discover new approaches. The complexity of her landscapes, for instance, is the result of a “rebellious attitude towards the facile beauty of the tropical landscape.” The nude, meanwhile, is the vehicle through which Báez reformulates the sensuality associated with the female figure. In Benítez’s view, Báez’s work is “a significant formulation, a key to understanding the world that we look at.”

Annotations

The exhibition Myrna Báez: Diez años de gráfica y pintura 1971–1981 [Myrna Báez, Ten Yearsof Graphic andPainting 1971–1981] was held at El Museo del Barrio (August 1982); the Museum of Fine Arts, Springfield, Massachusetts (September–October, 1982); and the exhibition gallery of the Chase Manhattan Bank in Puerto Rico (December 1982). The show included twenty paintings and sixteen collagraphs produced in the 1970s, and five paintings, seven silk screens, and six etchings produced in 1980 and 1981.

Myrna Báez (San Juan, b. 1931) studied at the Real Academia de Bellas Artes de San Fernando [San Fernando Royal Academy of Fine Arts] in Madrid, at the Taller de Gráfica del Instituto de Cultura Puertorriqueña [Puerto Rican Cultural Institute Print Workshop], where Lorenzo Homar was the director, and at the Graphic Arts Workshop at Pratt Institute in New York. Together with José A. Torres Martinó and other artists, she was a founding member of the Hermandad de Artistas Gráficos [Fraternity of Graphic Artists] in 1981, which was organized to protest the cultural intervention of the annexationist government that was in power at the time. In 1988, the VIII Bienal de San Juan del Grabado Latinoamericano [8th San Juan Biennial of Latin American and Caribbean Prints] honored her as a Puerto Rican artist.

 

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 Marimar Benítez, San Juan, Puerto Rico