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Spanish collector José Luis Plaza affirms the importance of the engravings of Elisa Elvira Zuloaga, which were exhibited (along with some canvases on which she was still working) at the Sala Mendoza in Caracas. He discusses how Zuloaga pursues engraving independent of painting, using it to cast poetic images, textures, and chiaroscuros that may only be achieved (with such intensity through a stamping process guided) by a sure hand (that of Zuloaga). The author emphasizes the fact that for the artist, engraving is not a “divertimiento” [diversion], but is instead an activity that is independent of painting; with its own autonomous discipline producing its own result.
Residing in Venezuela since the end of the Spanish Civil War (1939), in this catalogue for the Sala Mendoza, José Luis Plaza presents one of the few (individual) engraving exhibitions during the life of Elisa Elvira Zuloaga. One should note that this text was written and published in 1963 on the first occasion that the artist exhibited engravings in Venezuela, at both the Museo de Bellas Artes (Caracas) as well as the Escuela de Arquitectura [School of Architecture] in Venezuela (Caracas). This text is one of the first that recognizes engraving as an independent artistic activity. Plaza also compiled a very complete private collection of Italian painter Giorgio Morandi, and he was actively involved in the development of Venezuelan culture, especially through the Sala Mendoza and the Museo de Bellas Artes.