Documents of Latin American and Latino Art

Quela Rovira, an Uruguayan artist, informs Lorenzo Homar about the shipping of the posters that had been exhibited. She sends her regrets about the events that occurred in Uruguay just after the exhibition, since they worsened the sale prospects for [...]

The printmaker Lorenzo Homar comments on the silk screen workshop he organized at the Museo del Grabado Latinoamericano [Museum of Latin American Graphic Art] for the museum’s inauguration at the time of the Segunda Bienal de San Juan del Grabado [ [...]

Mariano Rodriguez (Havana, Cuba 1912–1990), the deputy director of the Casa de las Américas, asks Puerto Rican artist Lorenzo Homar to consider being the Puerto Rican coordinator of a group affiliated with either the Casa de las Américas in [...]

In this letter, Uruguayan artist and academic Luis Camnitzer tells printmaker Lorenzo Homar that he and the other artists at his New York Graphic Workshop had managed to get the Center for Inter-American Relations to suspend a New York exhibition of [...]

In this letter to Puerto Rican printmaker Lorenzo Homar, Uruguayan artist and academic Luis Camnitzer proposes that, on the occasion of the III Bienal de San Juan del Grabado Latinoamericano [3rd San Juan Biennial of Latin American Prints], scheduled [...]

In this letter, Puerto Rican artist Paul Camacho conveys his personal opinion to printmaker Lorenzo Homar concerning an exhibition at the Escuela de Artes Plásticas [School of Visual Arts] at the Instituto de Cultura Puertorriqueña [ICP, Puerto [...]

Oscar Colón Delgado, a Puerto Rican painter, sends Puerto Rican printmaker Lorenzo Homar a copy of the letter he wrote to the publisher of the 1961 Almanaque Mundial de Selecciones [Selecciones World Almanac] to thank him for including his name in [...]

Alberto Beltrán, a Mexican artist, writes to his friend, Puerto Rican printmaker Lorenzo Homar, to thank him for his earlier letter explaining the problems surrounding the IV Bienal de San Juan del Grabado Latinoamericano [4th San Juan Biennial of [...]

In this letter to Puerto Rican printmaker Lorenzo Homar, Colombian artist Pedro Alcántara discusses various problems that had arisen at the Museo La Tertulia in Cali after completion of the first graphic portfolio. Alcántara mentions that architect [...]

This is an essay written by literary critic Ani Fernández Seín about the Primera Bienal del Grabado Latinoamericano en San Juan [1st San Juan Biennial of Latin American Prints] that was presented in 1970. The document includes handwritten comments [...]

Mexican printmaker Alberto Beltrán writes to his Puerto Rican colleague Lorenzo Homar about the controversy stirred up by Mexican writer Carlos Fuentes and his group, following the announcement in the press that he [Fuentes], José Luis Cuevas, [...]

Puerto Rican printmaker Lorenzo Homar writes to Félix Rodriguez Báez, who at the time was the director of the Escuela de Artes Plásticas [School of Visual Arts] of the Instituto de Cultura Puertorriqueña [ICP, Puerto Rican Cultural Institute], to [...]

Alberto Beltrán, a Mexican printmaker, writes to Puerto Rican artist Lorenzo Homar to discuss recent art events and news in Mexico. Beltrán tells Homar that he has heard that art critic Raquel Tibol is in Puerto Rico, and mentions the recent [...]

In this letter from Mexican printmaker Alberto Beltrán to his friend and colleague, Puerto Rican Lorenzo Homar, the former discusses the 50th anniversary of the Taller de Gráfica Popular [TGP, People’s Print Workshop] in Mexico. Beltrán tells [...]

Luis E. Díaz Hernández, executive director of the Instituto de Cultura Puertorriqueña [Puerto Rican Cultural Institute] (ICP), sent a letter to the artist Lorenzo Homar with a questionnaire consisting of five questions. The objective of the [...]

This anonymous article, published in Semana [Week] magazine, reports on the positive critical response to the 1957 exhibition of Puerto Rican art presented at the Riverside Museum in New York. The article also mentions several details about the event [...]

In this article, the journalist, Malén Rojas Daporta, tells how the Puerto Rican artists, Lorenzo Homar and Rafael Tufiño, created a graphic art portfolio in 1955. Their portfolio was centered on (a form of Puerto Rican popular music called) the [...]

According to the Puerto Rican writer René Marqués, the exhibition Arte Patriótico Puertorriqueño [Puerto Rican Patriotic Art]—presented from April 24 through May 29, 1959 at the Galería La Pintadera in San Juan—is an expression of [...]

This document is the cover of the magazine, Puerto Rico Ilustrado [Puerto Rico Illustrated], and consists of a photograph of five members of the Centro de Arte Puertorriqueño [CAP, Center for Puerto Rican Art]: Samuel Sánchez, Rafael Tufiño, [...]

The critic Samuel Cherson gives a historical account of the Bienal de San Juan del Grabado Latinoamericano y del Caribe [San Juan Biennial of Latin American and Caribbean Graphic Art]. He notes that the 7th Biennial (1986) opened 3 ½ years after [...]

Samuel Cherson, a Cuban living in exile in Puerto Rico, gives a brief account of the history of the Bienal de San Juan del Grabado Latinoamericano y del Caribe [San Juan Biennial of Latin American and Caribbean Graphic Art]. He concludes that the 8th [...]

The Mexican printmaker, Alberto Beltrán, thanks Lorenzo Homar for the invitation to the Bienal de San Juan del Grabado Latinoamericano [San Juan Biennial of Latin American Graphic Art]. However, given the late date on which the news reached him, he [...]

In this catalogue essay, Victor Alejandro Sorell considers the 36-year career (spanning 1964–2000) of the Chicano artist Carlos Cortez, praising him as the “quintessential artist-reporter,” and emphasizing his virtuosity as a master printmaker [...]

Artist and essayist Félix Bonilla Norat comments on the visit of the Uruguayan printmaker, Antonio Frasconi, who would be exhibiting his works at the La Casa del Libro [House of the Book] and at the Museo del Grabado [Museum of Graphic Art]. The [...]

Carlos Conde III, who at the time in question was president of the board of directors of the Instituto de Cultura Puertorriqueña [ICP, Puerto Rican Cultural Institute], answers several questions asked by the Puerto Rican artist Lorenzo Homar about [...]

In this letter to Puerto Rican artist Lorenzo Homar, Mexican artist Alberto Beltrán comments on the new issue of the publication, El coyote emplumado[The Plumed Coyote], which will cover topics relating to the campaign being waged by right-wing [...]

In this letter, Mexican artist Albero Beltrán (1923–2002) informs Puerto Rican artist Lorenzo Homar that the course in poster design that Polish designer Wiktor Gorka was offering at the Academia de San Carlos (Mexico City) would continue until [...]

Mexican artist Alberto Beltrán thanks Puerto Rican printmaker Lorenzo Homar for sending him the publication Cine y Cultura [Film and Culture]. Beltrán remarks on the method used to illustrate the publication, El corno emplumado [The Plumed Horn], [...]

Colombian artist Pedro Alcántara informs his Puerto Rican colleague Lorenzo Homar that the individuals who signed the letter sent to Luis Manuel Rodríguez Morales, director of the Instituto de Cultura Puertorriqueña (ICP), represent a majority of [...]

Colombian artist Pedro Alcántara informs his Puerto Rican colleague Lorenzo Homar of the final date for the exhibition of posters and other graphic arts, entitled Homenaje a Puerto Rico. He also mentions the materials necessary for the workshop that [...]

Mexican artist Alberto Beltrán (Mexico City, b. 1923) informs Puerto Rican printmaker Lorenzo Homar that he is retiring from journalism, and his editorial responsibilities at the supplement to El Día newspaper, El Gallo Ilustrado, in order to spend [...]

This is a letter in which Colombian Pedro Alcántara informs Puerto Rican printmaker Lorenzo Homar that the group working at the graphic workshop in Colombia places great emphasis on the planning, analysis, and theoretical study of the problems [...]

Colombian artist Pedro Alcántara informs Puerto Rican artist Lorenzo Homar that the studio at the Museo [La Tertulia] no longer exists, and therefore its collective, the Taller Gráfico [Graphic Workshop], is operating on the basis of “ongoing [...]

In a letter to his Puerto Rican colleague Lorenzo Homar, Colombian artist Pedro Alcántara expresses his outrage at the death of Chilean President Salvador Allende during the attack on the Palacio de La Moneda by military forces staging a coup d'é [...]

Colombian artist Pedro Alcántara informs his Puerto Rican colleague Lorenzo Homar that the Colombian company Carvajal y Compañía had committed to donating funds for the construction of a printmaking studio. Alcántara asks Homar to help him put [...]

Colombian artist Pedro Alcántara thanks his Puerto Rican colleague Lorenzo Homar for a number of gifts brought to him by Ramiro Pazmiño. One of the first things that Alcántara mentions in this letter is a problem at the Encuentro de La Habana [ [...]

The Puerto Rican artist, Félix Rodríguez Báez, wrote a letter to all the members of the Galería Campeche [Campeche Gallery] in which he asked them to read and comment on the rules. He also sent them two invitations in which he established the [...]

Puerto Rican historian and curator Marimar Benítez discusses the importance of the print—particularly of the linoleum variety—to artists of the 1950s. Social commentary, condemnation of living conditions among Puerto Ricans, and criticism of the [...]

In this interview by Puerto Rican curator Mari Carmen Ramírez, printmaker and artist Lorenzo Homar speaks of how he became interested in silkscreen; in addition to his career as a poster artist; the primary function of the poster medium; what [...]

Norma Rosso, a Puerto Rican critic who resided in London, discusses the history of the silkscreen around the world, as well as its advent and later development on the island of Puerto Rico. In her view, silkscreen became the favored medium for a [...]

This essay by Puerto Rican historian Teresa Tío discusses the historical development of graphic portfolios in Puerto Rico between the 1950s and the 1990s. The essayist’s thesis is based on the fact that Puerto Rico has a long tradition of creating [...]

Juan Antonio Gaya Nuño, a Spanish historian who lived in Puerto Rico, explains the difference between the poster and other art forms. He claims that whereas in other countries the poster is used mostly in the spheres of politics, and sales, in [...]

Argentine critic Rafael Squirru writes a critical review of an exhibition of posters held at the Taller de Gráfica [Graphic Art Workshop] of the Instituto de Cultura Puertorriqueña (ICP) [Institute of Puerto Rican Culture]. This workshop was led by [...]

This essay by Argentine critic Marta Traba discusses Salmos[Psalms], the folderof verses by Nicaraguan poet Ernesto Cardenal with woodcuts by Puerto Rican artist Antonio Martorell. Traba praises this work, which she believes voices protest in a [...]

In 1973, Andrew Stasik, director of the Pratt Graphic Center, assembled a collection of Puerto Rican prints later acquired by the Exxon Corporation, which also sponsored an exhibition of the collection that traveled to major cities in the United [...]

The Puerto Rican critic Ernesto Ruiz de la Mata interviews the maestro Lorenzo Homar on the occasion of the publication of Primera Colección de Grabados Editada en el Taller de Artes Graficas del Museo de Arte Moderno La Tertulia [First Collection [...]

The Puerto Rican critic and historian Teresa Tió acknowledges the importance of the Puerto Rican artist Lorenzo Homar, and discusses his evolution as a poster artist at the Taller de Gráfica del Instituto de Cultura Puertorriqueña (ICP) [ [...]

Arlene Alvarez claims that the visual arts had a strong impact on rural Puerto Rican communities during the 1940s and 1950s. She notes that artists and social workers traveled to rural areas to introduce farmers to modern modes of health care, [...]

In this essay published in the 1992 exhibition catalog of Remerica! Amerika, Puerto Rican artist Enoc Perez discusses the effects of United States colonialism in the development of art in Puerto Rico. He observes that Puerto Rican artists have [...]