Puerto Rican Art Historically, Puerto Rico is only 512 years old. The island was discovered on November 19, 1493 by Christopher Columbus on his second voyage to the New World. On the island he found Taino Indians living there. Juan Ponce de Le " on came to the island in 1508 as its first governor. In 1521, the city of San Juan was established. During the seventeenth and eighteenth centuries.

Puerto Rico was attacked by the Dutch and English, Spain's enemies. The island was struggling to attain economical stability by raising cattle and farming on a small scale. By the end of the nineteenth century, Puerto Rico had grown considerably socially, economically, and politically. The C'edu la de Gracias of 1815 offered many incentives and advantages the immigrants of the new Latin American republics. Puerto Rico became a sugar exporting colony. After the Spanish-American War in 1898, Puerto Rico was ceded by Spain to the United States.

In 1917, Puerto Ricans became U.S. citizens and adopted the Commonwealth state in 1952. Although Puerto Rico is relatively young artistically, it has gone through major cultural changes, first with the Spanish conquest, and then with the United States and other immigrant groups. The artistic production of painters and craftsmen, through these not yet five hundred years, reflect these cultural shocks. Puerto Rico, like the United States, is a land of immigrants.

It is presently in the process of establishing a cultural statement. Because of the diversity of its inhabitants, no statement of a unified artistic expression can be made. In earlier times, the discovery, the colonization period, and later some stability in the nineteenth century, the artistic production was basically unified, that is, it portrayed Puerto Rico through single statements, its people, its vegetation, eminent politicians, religious beliefs, etc. The contemporary artists have expressed their ideas in more complex and stylized ways. This is not saying that the earlier works were primitive or archaic.

It simply means that the times demand different artistic visions of what the Puerto Rican reality is now. Art will provide some explanation and insight into the life and reality of our people. The Taino Indians The Taino Indians had been living in Puerto Rico for hundreds of years when the Spaniard conquerors arrived in the fifteenth century. They were a branch of the Arawak people of South America who had migrated to the islands. The Tainos called Puerto Rico, Boriquen or Boringuen, the land of the valiant men. The word Taino means peace and friendship, and they were a peaceful people.

Because of the benevolent climate on the island, the Indians lived a leisurely life, farmed, fished and worked on their crafts. They were skillful in stone sculpture, shell and bone carvings, pottery, and gold plating. The Indians made charms and amulets, ceremonial artifacts, and everyday utensils in clay, cotton, and straw, wood, stone, shells, and bone. Among their stone sculptures are stone collars and belts, ce mis, face masks, du jos (du hos), and weapons. Their work was of religious content and is not easily understood.

The stone collars could have served a series of purposes, from protective game gear in the bate y, a type of ball game the indians played, to funeral offerings. There were two types of collars, the massive oval or the slender pear-shaped form. The collars were very heavy and it took many years to finish one. The indians also carved ce mis out of stone or wood. These three-pointed carvings frequently depict the form of human or animal heads on one end and animal legs on the other, sometimes the head is found in the central projection. At times the ce mi is not carved at all, it is simply a three-pointed stone or wood figure.

The ce mi was believed to have magical to religious powers. Stone CollarsCemiThe stone face masks that have been found seem to have had ceremonial significance. They may have been carried on a staff or pole because they were too heavy to have been worn. These masks may have had a funeral use or have been exchanged among chiefs. Their overall shape is similar to a ce mi because they are also three-pointed stone figures.

Face Masks The petroglyph's or stone pictographs have been found on boulders in rivers or near running water, at ceremonial courts, and in caves. These carvings are of religious nature and cannot be deciphered. The petroglyph's are highly stylized, but it is obvious that the ce mi, the stone collars or belts, and the petroglyph's belong to the same religious concept. Other examples of Indian craftsmanship was in the elaboration of wooden articles. They made idols and thrones or du jos. The du jo was short-legged, made of wood or stone, with carvings at the ends of the hammock-like seat.

The du jos were also more of a religious nature than of comfort or practicality, and may have been used in burials or in rituals. The Taino Indians also enriched language. More than 150 words of Taino root are used in Puerto Rican Spanish today and in other parts of the world. Puerto Rico also inherited from the indians foods and rhythm instruments like the g" and maracas. The construction of rustic wooden huts has been traced to Taino origin. The Art of the Tainos, however, has not influenced greatly the art of Puerto Rico on the whole.

Jos'e Campeche During the period of colonization not much emphasis was given to the arts. Time was devoted primarily to developing and establishing of towns and cities. It was well into the eighteenth century that Puerto Rico saw its first artistic genius. Jos'e Campeche was born in 1751. His father was Tom " as Campeche, a Black freeman, and his mother was Mar " ia Jor d " an, a Spaniard from the Canary Islands. His father was known as Campeche, and was a master gilder and carver, a painter and ornamental ist, although not exceptionally gifted.

His sons learned about art and painting through him. Campeche was the most gifted of Tomas's children although many of them also painted. Jos'e was also a professional musician, sculptor, architect, surveyor, and decorator. He was a well educated person, a gentleman, and a devoted Catholic. His paintings are classified into five groups: portraits, historic events, religious themes, saints, and mysteries and Marian titles. Some of his paintings are Birth of Christ, Vision of St. Francis of Assisi, Virgin of Mercy, and many versions of the Virgin and Child.

Many of Campeche's paintings are found in churches and in the Cathedral in old San Juan. Campeche also painted on commission. His most notable painting of a public figure is Don Miguel Antonio de Ustariz, who was Governor and Captain General of Puerto Rico from July 8, 1789 to May 19, 1792. In this painting, an open window behind the governor gives the viewer a glimpse into San Juan in its very early years, when the paving of its streets was being done.

(A copy of this painting will be available at the Teachers' Institute office). He painted fine portraits of members of the Puerto Rican society in the late eighteenth century. Campeche's death in 1809 was felt deeply in Puerto Rico. He will always be remembered, however, as Puerto Rico's first native painter.

Francisco Oller Francisco Oller was born in Bayamon in 1833. He is considered the outstanding nineteenth century Puerto Rican painter. Although there were other artists in this century Oller surpassed them all. At 18, Oller went to Madrid, Spain where he studied under Federico de Madrazo, considered to be the outstanding Spanish painter of that period.

In 1858, when he was 25, he went to Paris for the first time. He became the pupil of Themes Couture and later, Gustave Courbet. He became friends with Paul Cezanne and Camille Pissarro. The artists were all involved in Impressionism, an art movement concerned in light and what it did to color and forms. Oller cannot be considered a true Impressionist because he is also a Realist. His painting, The Student, is a Realist masterpiece.

It is believed that it is a painting of Emile Zola and his girlfriend. Emile Zola was an eminent novelist of the nineteenth century and a friend of Oller's. This painting is found in the Louvre in Paris. It is the only painting by a Latin American in that museum. Although not readily known as an early member of the Impressionist group, Oller exhibited his works of art all over Europe. For many years, Oller would travel to Europe and return to Puerto Rico to live for a few years.

While in Puerto Rico, he taught and painted for a living. The invention of the camera made portraits a luxury, but by this time, Oller painted whatever he wanted. He was in Puerto Rico when the United States took over the island in 1898. He thought things were going to get better but he later felt imprisoned in his own home. Francisco Oller stayed in Puerto Rico because he needed to express his love for his people. Among his paintings with Puerto Rican themes are: La Escuela del Maestro Rafael, El Velorio, Hacienda Aurora, Bodeg " on con J arra, Mangoes y Mamey, La Ceiba de Ponce, and many portraits of prominent figures of Puerto Rican society.

He did not limit his paintings to only the rich but he also painted scenes of everyday life and made social criticism through his works. He painted tropical still life and landscapes of Puerto Rico true to the color and the time when Oller painted them. In El Velorio, Oller makes a statement of Puerto Rican folklore. The painting depicts a former custom in Puerto Rico of having a festivity after the death of an infant or newborn child. There are over twenty human figures in the painting, men, women, and children, each one a single and composite element in the scene.

It is a lively scene and if it had sound to accompany it, it would be a noisy one too. It would have music, loud talking, animal sounds, etc. The custom no longer exists but Oller's painting serves not only as a social portrait but as a historical one as well. This painting is his monumental work.

A copy of this painting will be found in the Institute's Office. Oller established several schools of art and worked as an art instructor for many years. He wrote a history of Jos'e Campeche. Oller lived a life full of experiences, and his paintings reflect these experiences. Oller was a man true to his feelings and so expressed them in his art.

He died on May 17, 1917, at the age of eighty-four. The Early Twentieth Century In the early half of the twentieth century, there where many painters at work despite the unfavorable conditions on the island. Among these were Ram " on Frade, Miguel Pou, Oscar Col " on Delgado and Juan De " Prey. Ram " on Frade was born in 1875 in Carey. He was a painter of the life of the Puerto Rican in the twentieth century. His style was Realist.

He did not merely paint pictures, he painted portrayals of the life of the campesinos. His masterwork, El Pan Nuestro de Cada Dia (our Daily Bread), represents a jivaro farmer) carrying plantains. He is an old barefooted man. He is poor but proud, serious, dignified, clean and very Puerto Rican. He represents Puerto Rico at the beginning of the century. There are other works by Frade, El Ni~no Campesino, Ensenada, La Poz a, and many others.

He died in 1907. Miguel Pou was born in Ponce in 1880. He studied painting and drawing intensively and also taught art. He founded his private art school in 1910 in Ponce which he ran for forty years.

He was very much admired for his artistic works in Puerto Rico. He painted Puerto Rican landscapes and j'bar-types. Pou did not have a political statement to make. He wanted to capture the ideal of what a j'bar or j'bar a was. He painted the beauty both physical and spiritual that the people and the land had.

Pou died in 1968. Among his pupils are: Epifanio Irizarry, Jos'e Alicea, and Jos'e Manuel C intr " on Pou. Pou's works have been exhibited in many Puerto Rican towns, in North America, and in Madrid and Barcelona. Outstanding paintings by Pou are: Los Coches de Ponce, La Pro mesa, La Calle Loiza, La Catedral de Ponce. There will be a reproduction of Los Coches de Ponce at the Institute. Oscar Col " on Delgado was born in Hatillo in 1889.

He was a self-taught artist who had a wonderful sense of composition. He used his colors luminously with clear lines. His paintings range from portraits to still life, done in a Realist style but not photographic. Among his works is The Empty Basket in which a young boy holds an empty basket.

There is a look of sadness and concern, as if in a moment of indecision. The face is that of a child who is unsure of his immediate future. Juan De " Prey, partly of Haitian descent, was born in San Juan in 1904. He lived for some time in New York. He is also a self-taught artist but is not Primitive in style. He worked freely in different kinds of media.

He never took an art lesson or went to school. His drawings of children are captivating. He is not well known in Puerto Rico, but he is one artist Puerto Rico should be very proud of. Two of his works are on exhibit at the Museo del Barrio: Siesta on a Wheat field and Lady and Child.

De " Prey died of a heart attack at his home on November 30, 1962. Puerto Rico has produced a wide variety of artists and styles. Women have actively participated in the arts. The list of artists is extensive and only a few of the most prominent will discussed. In the fifties, a growth in cultural identity was felt among many of the island's artists.

A new political program was in effect with Mu~not Mar'n's administration. The arts received more recognition than ever before. Air travel between the island and the mainland became more accessible and many artists migrated back and forth, expanding their knowledge. They studied in the United States and Europe. The Institute of Puerto Rican Culture was established, and here the message made by many artists was of a nationalistic tendency. In the fifties, the artists expressed their loyalty to the Puerto Rican people and the island, and how he himself felt in relation to his country and his world.

Outstanding artist of the fifties are: Lorenzo Homar, Rafael Tufi~no, Augusto Mar'n, Epifanio Irizarry, Osiris Delgado, Jos'e R. Alicea, and Luis G. Cajigas. This list is very much incomplete and needs further study. All these artists vary in their theme, techniques, and personal traits. Many are still painting and producing excellent pieces today.

Rafael Tufi~no was born in Brooklyn, New York in 1922. He went to live to the island when he was five. Tufi~no is dramatic in his paintings but he is outstanding in his graphics. His posters have become classics. His style is called poetical Realism. His themes are from the Puerto Rican heritage.

Tufi~no has exhibited in Mexico, United States, and Europe. Among his paintings are: Baile de Bomba, Go yita, Bodeg " on. and Mujer En cinta. Osiris Delgado was born in Hu macao in 1920. He studied art in Puerto Rico, Italy, France, Spain and the United States. He has a Doctorate in Philosophy and Literature from the University of Madrid. He is a professor at the University of Puerto Rico.

He has written several books related to art. He excels in paintings of young people. Some of his paintings are: La Suerte de la Cue rda, Ta " na, Fres as, La Hij a del Pint or. Jos'e R. Alicea is a native of Ponce.

He was born in 1928. He studied with Miguel Pou, and sculpture with the Spanish artist Compostela, and the graphic arts with Lorenzo Homar. He has exhibited extensively in Europe, the United States, and in Puerto Rico. Alicea follows the tradition.

He excels in his graphics because of his particular style. He has taken the same topic as Oller, The wake of a Child, but has given it a completely different treatment. El Cua trista, El San tero, El Boxeador, Baquin'e I, El Rosario are some of graphics done by Alicea. Luis G. Cajigas was born in Quebradillas in 1934.

He studied graphic arts with Lorenzo Homar, Rafael Tufi~no, and Carlos Raquel Rivera. His style is essentially Regionalistic. He works freely and skillfully with color. A series done on La Perla reflect this skill. There are many other artists in this group who are still working actively and possibly in completely different styles that they had or were experimenting with in the fifties. Outstanding painters from the sixties are Francisco Rod " on, Tom " as Batista, Myrna Ba " ez, Mar'a Rod " geez Se~, Natividad Gutierrez, Nicholas a Mohr, Suzi L'open del Campo, and Eduardo M. Ort'z.

Their styles varied from Region alist to Realist, to Abstract. Francisco Rod " on was born in San Seba st " an in 1934. He started to paint when he was sixteen years old. He traveled to Mexico and Guatemala, and studied in Madrid and Paris. Upon returning to Puerto Rico he was awarded a scholarship in Mexico.

He has exhibited his paintings in the best museums and art galleries in Puerto Rico. He won a prize in Medellin, Colombia for his Trip tico a Rub " en Dario. His style has been consistent and he is considered one of Puerto Rico's foremost painters today. Tom " as Batista was born in Luquillo in 1935. The Institute of Puerto Rican Culture awarded him with a scholarship to study sculpture with Compostela and later to study in Mexico.

Batista's sculptures have been exhibited in the United States, Mexico, Spain, and Puerto Rico. Among his outstanding sculptures are: El Cacique Jayuya, In dios de Boriquen, and Caracole. In 1966 he came the Director of the Institute's Workshop and of the School of Plastic Arts. The Abstract painting movement which started in the sixties have as its exponents Luis Hern " andes Cruz, Domingo L'open, Carlos Irizarry, Jaime Romano, and Rafael Col " on Morales.

In the seventies, as in the sixties, artists developed more personal styles and worked in abstractions. In other words, the artists were shifting away from the Realism and Costumbrism into non-representative art. The Folk Arts The cultural inheritance from the Taino Indians that were on the island when Columbus discovered and conquered, is reflected in the language, food, folk medicine, beliefs, and customs. The weaving of hammocks and in the confection of certain types of baskets the techniques used by the Indians are used today. The Corozo's black and hard seeds were used by the Indians to make adornments and for spindles to weave cotton. The Spaniards, who intermixed biologically and culturally with the Indians, and then later with black Africans, are mainly responsible for the cultural manifestations of the Puerto Rican people and it is seen in their folk arts or crafts.

Another important contribution of the heritage to Puerto Rico is the Christian religion and particularly, the cult to the saints. In Puerto Rico, these figures were carved in hard tropical woods. The practice goes back to the colonization period of the sixteenth century. The original santos were sacred figures. They were simple, childlike but not childish, yet forceful. The santos were found in homes and were prayed to daily.

The figures were often repainted every few years on their saint's day. The santos were copied from elaborate forms brought from Spain. Since those religious figures were very expensive, the Puerto Rican artists carved their own versions of the saints. For the last few decades, the santos, have become collector's items. There are large private and public collections. They are in great demand because they represent a form of Primitive art and at the same time reflect the devotion and religious superstitions of the Puerto Rican people.

The ex-votes or miracles also derived from the religious beliefs of the people. These were small, two-dimensional figures made of silver or gold. The style is Primitive and similar to the santos. The metal was flattened and shaped into that part of the body or animal that needed healing. These were offered to a saint. This is not done anymore.

The altar in la Camilla del Cristo de la Salud in San Juan was made by melting the ex-votes offered to Christ the Healer for those miracles of health conceded. Another craft similar to the santos but not of religious content is the wood carvings of animals, especially of the fighting roosters (gallop). Cockfighting is the national sport of Puerto Rico. Musical instruments like the, a stringed instrument similar to a guitar but with ten strings, drums, and (from African roots) are handmade by dexterous craftsmen.

More Puerto Rican crafts. Masks made of coconuts are typical of Loiza Alde a, a town on the Northern Coast of the island, with the most African influence. The festivities to St. James (Santiago Ap'o stol) are famous on the island. Castor Ayala is the maximum exponent of this craft. Other crafts from coconut shells are also made here. The African influence is heard in music and through handmade musical instruments.

The influence of the Indian, Spanish, and African heritage's is also reflected to various degrees in the pottery and clay figures made today on the island. Puerto Rico's present day crafts are many and varied, and there are craft fairs celebrated on the island for everyone to enjoy. Resources: Mag aly Rivera "Welcome to Puerto Rico!" web R. Mac Manus, Jr. "Ta " in Treasures The Legacy of Dr. Ricardo E. Al egr " ia" web treasures / mac manus essay. htm Bob Corbett "Pre-Columbian Hispaniola - Arawak / Taino Indians" web "Puerto Rican Painters" web rican artists / Cecil Marie Cancel "! Bienvenidos a la p'a gina de nuestros pint or, Jos'e Campeche!" web Carmen Ram " ire z "Modern and Contemporary Puerto Rican Artists Francisco Oller" web.