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Argentine-Mexican art historian Raquel Tibol asserts that Myrna Báez’s work must be analyzed from many different perspectives in order to attend to questions like technique, the artist’s status as a Puerto Rican woman, her character, her times, her commitment to her country, and her preferred themes (landscape and the human figure). In this essay, Tibol offers an overview of Báez’s life as an artist, from her studies in Spain in the late 1950s to her experiments in silkscreen in the 1980s. Tibol emphasizes the influence that nationalist thought has exerted on Báez’s work; Báez’s patriotic fervor, Tibol claims, is subtly evidenced in her prints of the human figure. The collagraph technique specifically allows Báez to study, among other things, psychological mechanisms. In closing, Tibol emphasizes Báez’s systematic and reverent approach to the craft of painting.


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.

Flavia Marichal Lugo
Museo de Historia, Antropología y Arte, Universidad de Puerto Rico, San Juan, Puerto Rico