Documents of Latin American and Latino Art

In this interview conducted byPuerto Rican critic Ernesto Ruiz de la Mata, Italian art dealer Luigi Marrozzini recounts his experiences as the director of Galería Colibrí. Marrozzini offers a detailed account of the opening exhibition of the [...]

In a conversation with Puerto Rican art critic Ernesto Ruiz de la Mata, Italian art dealer Luigi Marrozzini recounts his early days as the director of Galería Colibrí in Old San Juan. Marrozzini explains why he has chosen to set up a private office [...]

In these two essays by Argentine artist Luis Felipe Noé and Mexican writer Juan García Ponce respectively, the authors discuss the originality of the prints by Colombian artist Omar Rayo. Noé first states that in his prints, Rayo attempts to [...]

Distinguished Puerto Rican writer René Marqués discusses recent prints by Rafael Tufiño, which he finds less aggressive and dramatic and more sentimental and nostalgic than Tufiño’s earlier work. Marqués begins by describing the first phase of [...]

In the catalogue to the exhibition Juegos de manos held at the Galería Colibrí in 1968, historian and biographer Antonio Díaz Royo discusses “sleights of hands,” the title of the show in which Puerto Rican artist Antonio Martorell exhibited [...]

In this text, poet Águeda Pizarro—wife of Colombian artist Omar Rayo—analyzes her husband’s geometric production. She examines the visual vocabulary and aesthetic problems that Rayo formulated in his earlier work (specifically the themes of [...]

In this text written on the occasion of the exhibition L’Avant-Garde held at the Galería Colibrí (1965), Puerto Rican critic Ernesto Ruiz de la Mata discusses what he considers an interesting show of avant-garde prints by artists from different [...]

Spanish artist José Ayllón states that Puerto Rican artist Marcos Irizarry has focused on the etching medium and worked intensively to increase its importance in Puerto Rico. Ayllón’s essay discusses the relationship between the etching [...]

German-American illustrator Fritz Eichenberg comments on the graphic work of Uruguayan artist Antonio Frasconi, a figure who, in Eichenberg’s view, continues to come up with avant-garde formulations after twenty-five years of intensive work. [...]

In this introduction to an exhibition of prints held to celebrate the first anniversary of the opening of the Galería Colibrí, Italian art dealer Luigi Marrozzini thanks the Puerto Rican public for the reception his gallery has received. He [...]

Written in 1966 on the occasion of the exhibition of prints by Puerto Rican artist José R. Alicea, this introduction by Luigi Marrozzini—an Italian art dealer who lived in Puerto Rico and directed the Galería Colibrí—places emphasis on Alicea [...]

In 1963, a group exhibition of Puerto Rican graphic art was organized under the title: Exposición Colectiva de Grabados Puertorriqueños: Pequeña Retrospectiva [Small Retrospective]. Regarding the exhibition, the Italian art buyer Luigi Marrozzini [...]

Lorenzo Homar harshly criticizes Luigi Marrozzini, director of the Galería Colibrí in Old San Juan, for certain statements in Revista Avance. Homar asserts that Marrozzini was not the founder of the Galería Colibrí or the Bienal de San Juan de [...]

Luigi Marrozzini, director of the Galería Colibrí in San Juan, provides H.D. Glicksman with information about the Portafolio Latinoamericano, which consists of twenty-two original prints, mostly etchings and lithographs produced in signed, limited [...]

Panamanian artist Julio Zachrisson congratulates Lorenzo Homar on the poster he created for his exhibition. He also congratulates him on his selection as a member of the jury of the festival in Cali, Colombia. He asks Homar to talk to Luigi [...]

Puerto Rican artist Lorenzo Homar tells Ricardo Alegría, director of the Instituto Puertorriqueña [Institute of Puerto Rican Culture], what happened to Homar’s portfolio, Tres estrofas de amor para soprano [Three Stanzas of Love for Soprano], [...]

This short essay was written for the 1969 exhibition catalog of lithographs by Argentine artist Antonio Seguí held at the Galería Colibrí in Puerto Rico. In it, French writer André Pieyre de Mandiargues (1909–1991) asserts that Seguí is an [...]

Writer Isaac Montero, who is from Madrid, asserts that the work of Panamanian printmaker Julio Zachrisson must be understood in a specific political and geographic context. Historical awareness plays a decisive role in the development of any artist [...]

Cuban art promoter José Gómez Sicre comments on the graphic notebooks, which he prefers to call “books of graphic experiences,” by Mexican draftsman José Luis Cuevas. Gómez Sicre asserts that Cuevas’s staunchly pessimistic view of the human [...]