puertobookFINAL

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University PressBoston, MA© 2010 Sara Allsopp

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S M I T H S O N I A N L A T I N O C E N T E R

Rapael Tufino 4

Lorenzo Homar 7

Tony Maldonado 8

Eduardo Vera Cortez 12

Isabel Bernal 15

Jose Melandez Contreras 16

Jose A. Rosa 18

Antonio Martorell 21

Jose R. Alicea 22

Carlos Marichal 25

TABLE OF CONTENTS

Introduction & the history of DIVEDCO

DESIGNER SPOTLIGHT

index

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Puerto Rico has had a long tradition of poster art,

however, it was not until the mid 1940s that silkscreen post-

ers became an important form of artistic advertising for public

health, education, and development programs. The formation

of the Cinema and Graphics Workshop of Public Parks and

Recreation (CGWPPR) in 1946, under the auspices of then Presi-

dent of the Senate Luis Muñoz Marín, established a connec-

tion between art, politics and the preoccupations with didactic

endeavors. As an arm of the government, the CGWPPR, which

became DIVEDCO in 1949, had a political and didactic agenda

that constrained a purely aesthetic production, and at the same

time created a space in which artists developed their craft. The

creative incorporation of text and image, and the innovative use

of typography and calligraphy, let to a refinement of the social,

informational, and educational poster.

Early on, many of the artists associated with DIVED-

CO created the Center of Puerto Rican Art (CAP), an artist col-

lective that promoted social justice. The success of the graphic

arts workshop of DIVEDCO influenced other government agen-

cies. In 1957 Lorenzo Homar was recruited to open the Graphics

Workshop for the Institute of Puerto Rican Culture. The Univer-

sity of Puerto Rico inaugurated print workshops headed by José

Antonio Torres Martinó and Carlos Marichal. DIVEDCO played

a significant role in the early years of the Puerto Rican graphic

arts by creating a niche for experimentation and training whose

alumni would go on to launched numerous workshops.

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The Division of Community Education (DIVEDCO) was a Puerto Rican government agency under the Depart-ment of Education which was signed into law in 1949 by the first elected gov-ernor of Puerto Rico, Luis Munoz Marin.

DIVEDCO was a social experiment which mirrored several of President Roos-evelt’s New Deal programs such as the Works Projects Organization (WPA) and the Farm Security Administration (FSA). DIVEDCO was com-prised of several divisions which specialized on pro-grams aimed at educating the rural populations about Democracy, civil duty, health and conflict resolution.

The main programs for the dissemination of these ideas were the film, graphic arts, and writer’s workshops. There was also the par-ticipation of musicians and composers who worked on

composing and recording of original music for the films. The members of DIVEDCO used a multi-faceted ap-proach for their educational and didactic mission. There was a development of films for which there was the par-ticipation of writers from the Writers’ Workshop as well as the participation of film-makers, and other technical personnel. The artists from the graphic worshops would create orginal silkscreens advertising the films.

Many well known Puerto Rican artists participated in DIVEDCO and later came to have extraordinary careers in the arts. Lorenzo Homar, Rafael Tufino, Isabel Bernal, Antonio Maldonado, and many others helped make Puerto Rico one of the most important countries in the graphic arts in the world. This exhibit examines the interest-ing and intricate political.

D I V E D C O ?w h a t i s

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RAFAEL TUFIÑO An artist known as the “Painter of the People” for his canvases and posters de-picting traditional aspects of life on the island, Mr. Tufiño, who was born in Brooklyn and frequently returned to the city, was an important presence in New York, where he was a mentor to Puerto Rican artists and served as a bridge to Puerto Rico’straditions and aesthetics.

He was a founder of Taller Boricua, a workshop and art collective started in East Harlem in 1970, and was also influential in the establish-ment of El Museo del Barrio in that neighborhood. His work was the subject of a major retrospective at the museum in 2003.

Mr. Tufiño’s art, which can be seen on posters through-out Old San Juan, presents scenes of daily life in Puerto Rico--work, dance, music and festivals--in bright, Fauvist colors. His paintings, includ-ing landscapes, interiors and

portraits, are in the collec-tions of the Museum of Mod-ern Art, the Metropolitan Museum of Art, the Library of Congress and the Galería Nacional in Puerto Rico.

In 2003, he was given a life-time achievement award by the National Arts Club in New York City.

Born Rafael Tufiño Figueroa in 1922, he became inter-ested in Puerto Rican tradi-tions as a child in Brooklyn, where he often heard stories of life on the island from his mother and father. When, at 10, he moved to San Juan to live with his grandmother, his drew pictures of nearly everything he saw. After serving in the Army Sig-nal Corps in Panama during World War II, he went to art school in Mexico under the G.I. Bill. Returning to Puerto Rico in the early 1950s, he became a member of Gener-ación del Cincuenta, a group of young artists dedicated to forging an aesthetic identity for the island.

He created some of his best-known posters and prints during the ‘50s, many for government-sponsored literacy and hygiene cam-paigns. He also spent time in New York on a Guggenheim fellowship, and returned to the city in the 1960s, when he encountwered a genera-tion of Puerto Rican artists particularly intent on explor-ing and celebrating theircultural heritage.

Of the 316 posters in the collection, 64 are by Rafael Tufiño.

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LORENZO HOMARBorn in the “Barrio” Puerta de Tierra of San

Juan, Puerto Rico, is considered by many to

be Puerto Rico’s greatest graphic artist.

Homar inherited his love for the arts from

both of his parents. His father was an arts

promoter and his mother a pianist. He went

to grammar school in San Juan. At a young

age he moved with his family to New York.

Because of the financial situation of his fam-

ily, Homar quit high school and went to work

for a textile factory. In 1931, he attended

the Students Art League where he learned

the art of drawing under the guidance of

George Brant Bridgeman.

Homar joined the jeweler House of Cartier in

1936 in New York as an apprentice designer.

This was of great significance for his artistic

development because during this time he

studied engraving, drawing and history of

design in a traditional workshop system.

Furthermore, income from his position at

Cartier allowed Homar to take night classes

in painting, design and typography at Pratt

Institute.

Of the 316 posters in the collection, 65 are by Lorenzo Homar.

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TONY MALDONADO

Studied with the master Rosado in

Puerta de Tierra. Along with Rafael

Tufiño, went to Mexico to study at the

School of Fine Arts. Both were hired by

the DIVEDCO graphics department and

are considered the best poster artists,

along with Lorenzo Homar.

Of the 316 posters in the collection, 34 are by Tony Maldonado.

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TONY MALDONADO

Studied with the master Rosado in

Puerta de Tierra. Along with Rafael

Tufiño, went to Mexico to study at the

School of Fine Arts. Both were hired by

the DIVEDCO graphics department and

are considered the best poster artists,

along with Lorenzo Homar.

Of the 316 posters in the collection, 34 are by Tony Maldonado.

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EDUARDO

CORTEZA prolific DIVEDCO illustrator, Eduardo

Vera Cortez’s posters represent some of

the best from Puerto Rico. He did not like

to sell his work, and his favorite topics

were stray dogs. He died in 2003 at the

age of 88.

Of the 316 posters in the collection, 29

are by Eduardo Vera Cortez.

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A bridge under construction overpowers the composition of this pro-motional poster for the film, The Bridge. This is a later version of the poster originally printed in 1954. Inspired by a true story, and filmed with local, “natural actors,” it recounts the efforts of a small flood-prone community. Neighbors organize themselves and collaborate to build a bridge to resolve their cronic problem. This documentary was shown in the Venice Film Festival and the Edinburgh International Film Festival where it was awarded honorable mentions.

El Puente

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The only woman working as an illustrator at DIVEDCO, Isabel

Bernal’s landscape paintings are highly valued as are her

portraits. She was commissioned to paint a portrait of the King

of Spain during his last visit to Puerto Rico. She is one of few

DIVEDCO artists still living.

Of the 316 posters in the collection,

21 are by Isabel Bernal.

ISABEL BERNAL

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Contreras studied in the United States with the best graphics teachers. A master of color, there was a high demand for his work as an illustrator. At DIVEDCO he worked with some of the best Puerto Rican graphic artists.

Of the 316 posters in the collection, 17 are by Jose Melendez Contreras.

JOSE MELEDEZ CONTRERAS

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A highly modern minimalist composition and design, this poster advertising the film by the same name, relies on text to shop and form the illustra-tion. Brainless John presents a profile of a man’s head wth a hollow space instead of a breain whose emptiness has been crammed with the ever-repeating words of the “propaganda” and “si” (“yes”). I ronically, the ffilm utilizes elements of propa-ganda to argue against it. This film was shown in 1960 in the Melbourne, Venice, and Edinburg Film Festivals.

Juan sin Seso

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Studied at the Gallery Campeche in the 1960s until his studies were interrupted for the military service. He was later rehired by Lorenzo Homar to work at the Institute of Culture. (ICP)

JOSE A. ROSA

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Martorel studied diplomacy until abandoning it for the graphic arts. He founded the workshop Alacrán and created some of his best posters at the Institute of Culture where he worked with Lorenzo Homar. (Puerto Rican Culture Institute, UPR)

Of the 316 posters in the collection, 7 are by Antonio Martorell.

ANTONIO MARTORELL

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A master engraver, Jose R. Alicea’s skill is visible on post-ers, which are illustrated in the style of wood engravings. He illustrated the finest graphic posters which displayed popular themes. (Independent)

Of the 316 posters in the collection, 7 are by Jose R. Alicea.

JOSE R. ALICEA

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Was born in Spain but settled in Puerto Rico, where his children also devel-oped into artists. He was a set designer for theater and also designed the majority of the books and posters produced by the Puerto Rican Cultural Institute. Marichal designed huge posters that promoted the theater festi-vals of Puerto Rico, the Tapia Theater, and the Universidad de Puerto RIco (UPR). His daughter Flavia is now the Museo de la UPR curator. Marichal was a man of grand qualities, a person who did not take no for an answer, and was highly loved and respected by all of those that were close to him.

Of the 316 posters in the collection, 7 are by Carlos Marichal.

CARLOS MARICHAL

INDEX

a b CAcevedo, Manuel Hernandez

A master painter and supervisor of printing at DIVEDCO, Hernan-dez Acevedo was also a boxer, cobbler, singer and cook. He raised 18 children (17 boys), both biological and adopted. His work is in some of the most important museums in the world, and he is recognized as the master painter of Puerto Rico. Alicea, Jose R.page 22

Alvarez, Velázquez

Velázquez Alvarez worked in an independent workshop.

Bernal, Isabel page 15 Biaggi, Julio

Julio Biaggi’s work had a brief run in the Galleries of San Juan. He designed many posters that promoted his exhibits. Nowa-days, Biaggi resides in the United States (independent workshop).

Blanco

Blanco worked as an artist in an independent workshop.

Cajiga, Germán

Germán Cajiga was born in Quebradilla and was protected during the 1950s by the Gover-nor Luis Muñoz Marín, who as-signed him to work as a student at DIVEDCO. While studying there, he became interested in the silk-screen printing process known as serigraphy. He has an extensive traditionalist collection (DIVEDCO).

Carrión, Antonio

Antonio Carrión worked in DIVEDCO and studied at the Galería Campeche since 1961. He has worked for Citibank Bank making drawings for their com-puter courses from 1964 through 1968. In DIVEDCO, he worked as a Silk Screen technician printing posters. He was also in charge of many drawing projects.

Casiano, Angel

Angel Casiano worked at DIVED-CO in the department of Cinema and occasionally illustrated posters for their presentations. Casiano wanted to instill “Tropi-calismo” as a new art movement that represented a particular Puerto Rican identity.

Contreras, Jose Melendezpage 16

INDEX

INDEX

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INDEX

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a b CAcevedo, Manuel Hernandez

A master painter and supervisor of printing at DIVEDCO, Hernan-dez Acevedo was also a boxer, cobbler, singer and cook. He raised 18 children (17 boys), both biological and adopted. His work is in some of the most important museums in the world, and he is recognized as the master painter of Puerto Rico. Alicea, Jose R.page 22

Alvarez, Velázquez

Velázquez Alvarez worked in an independent workshop.

Bernal, Isabel page 15 Biaggi, Julio

Julio Biaggi’s work had a brief run in the Galleries of San Juan. He designed many posters that promoted his exhibits. Nowa-days, Biaggi resides in the United States (independent workshop).

Blanco

Blanco worked as an artist in an independent workshop.

Cajiga, Germán

Germán Cajiga was born in Quebradilla and was protected during the 1950s by the Gover-nor Luis Muñoz Marín, who as-signed him to work as a student at DIVEDCO. While studying there, he became interested in the silk-screen printing process known as serigraphy. He has an extensive traditionalist collection (DIVEDCO).

Carrión, Antonio

Antonio Carrión worked in DIVEDCO and studied at the Galería Campeche since 1961. He has worked for Citibank Bank making drawings for their com-puter courses from 1964 through 1968. In DIVEDCO, he worked as a Silk Screen technician printing posters. He was also in charge of many drawing projects.

Casiano, Angel

Angel Casiano worked at DIVED-CO in the department of Cinema and occasionally illustrated posters for their presentations. Casiano wanted to instill “Tropi-calismo” as a new art movement that represented a particular Puerto Rican identity.

Contreras, Jose Melendezpage 16

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c d eCortez, Eduardo Verapage 12 Cruz, Hernández

A great artist whose main focus was the abstract style of his work, Hernández Cruz was the director of the Museum at the Univer-sidad de Puerto Rico (UPR). He now has a great atelier in a well-known location where a vast collection of his works is housed. Cruz designs the posters pro-moting his own exhibits. (UPR)

Dávila,Hector Although Hector Dávila’s journey through the graphic design workshop was brief, he produced posters that became the inspira-tion for artists in other indepen-dent workshops. (Independent workshop)

Del Valle, Julio Rosado Know as the master of masters when it comes to expressionist design, Julio Rosado Del Valle has painted an extensive and interesting variety of works be-tween his stays in Barcelona and Puerto Rico. He is one if the most sought after artists in Puerto Rico, and he was one of the first to design posters for DIVEDCO. Rosado Del Valle married Gover-nor Luis Muñoz Marín’s daughter (DIVEDCO).

Echevarría, Eusebio As a painter and poster illustra-tor, Eusebio Echevarría devel-oped his own style and focused on native indigenous themes. He developed a small workshop in his house and despite living in poverty, he overcame this and developed many posters that are now part of various important collections throughout Puerto Rico. (Independent workshop)

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Frasconi, Antonio An excellent graphic artist, Antonio Frasconi designed many posters for his own exhibits alongside the master Lorenzo Homar (DIVEDCO).

Goitía, David

David Goitía was an insatiable painter, a master in tracing, a great illustrator and a friend to all. Most of his graphic work was designing for the Tourism Department. His main focus was Taino themes and Puerto Rican folklore. His exhibits were seen in the best galleries in the country, and many of the students in his workshop are some of the best artists that Puerto Rico has today.

Homar, Lorenzopage 7

f g h

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i L MIrizarry, Carlos

As an artist whose greatest knowledge lies in portrait mak-ing, Carlos Irizarry displayed his best work through giant portraits of great Puerto Rican characters such as Roberto Clemente, Luis A. Ferré, etc.

Maldonado, Tonypage 8

Marichal, Carlospage 25

Martorell, Antoniopage 21

Moreira, Rubén

Rubén Moreira was one of the most demanded artists in the United States. He was the darfts-man of El Principe Valiente and Tarzán. Upon his retirement, he settled in Puerto Rico where he designed many posters for DIVEDCO. In addition, he also designed many drawings that illustrate the history of our country.

Leonel

Leonel is a graphic artist known for designing the poster featur-ing Roberto Clemente (Indepen-dent workshop).

López, E.

E. López worked as an artist in an independent workshop.

Lopito

Lopito worked as director of his own advertising company. His life was cut short when his private airplane crashed in 1998.

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n o rNina Ortiz, José Antonio

José Antonio Ortiz worked in an independent workshop.

Rechanny

Known as a master amongst the great artists, Rechanny had a great personal painting style that led him to design his own posters. His works can be seen in the best art collections of Puerto Rico (independent workshop).

Rivera, Carlos Raquel Worked for DIVEDCO until his death in 1996.

Rosa, Jose A. page 18

Rosario, F.

F. Rosario worked at an indepen-dent workshop

Rubio, Carlos

Carlos Rubio is a sculptor and professor at UPR who designed his own posters advertising his art exhibits. (UPR)

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s t VSalgado, E.

E. Salgado worked as an artist in an independent workshop.

Sambolin, Nelson A professor of graphic arts at the University of Puerto Rico (UPR), Sambolin still maintains a work-ing studio at his residence in Rio Piedras. (UPR)

Santiago, Julio

Born in Bayamón, Santiago died young but not before creating a beautiful body of work.

Sobrino, Carmelo

Carmelo Sobrino was born Car-melo Martínez Arroyo in Manatí, Puerto Rico in 1948. He studied with Oscar Colon Delgado in Hatillo and later in the School of Plastic Arts of the Institute of Puerto Rican Culture in San Juan. In 1968, he founded the Alacran studio with fellow artist Antonio Martorell and in 1970 his own Capricornio studio in Santurce. He worked as an engraving pro-fessor in the Art League of San Juan, the Casa Candina and the University of Turabo in Caguas.

Tufino, Rapaelpage 4

Villafañe

Villafañe designed a prototype poster for Antonio Carrión’s exhibit and also worked in DIVEDCO as a scholar of graphic design.

Viviana

Viviana worked as an artist in an independent workshop.

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