DOCSLIB.ORG

University of Florida Thesis Or Dissertation Formatting Template

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
University of Florida Thesis Or Dissertation Formatting Template DANCING PLENA WITH THE BISHOP: AN ANALYSIS OF LORENZO HOMAR’S EL OBISPO DE PONCE LINOCUT PRINT By ANA D. RODRIGUEZ A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2016 © 2016 Ana D. Rodriguez I dedicate this effort to the younger and future generation of my family, hoping it serves as an example and inspiration ACKNOWLEDGMENTS First of all, I want to thank my family for their continuous support throughout my studies, my parents, Irma and Ramón, and my sisters, Gina, Cindy, Angie and Paula. I am especially grateful of my aunt Miriam Viruet for giving me shelter during the two weeks I spent collecting research material in Puerto Rico. I need to add into the family support group, my cousin Yahaira Sánchez for helping me collect text resources for my writing. From the University of Florida School of the Arts, I want to recognize and express my gratitude to Dr. Maya Stanfield-Mazzi, Chair of my Committee, for her patience, her guidance with my manuscript, and for keeping the faith in my work. To Dr. Efrain Barradas, for advising me to use the portfolio of Las Plenas from the Smathers’ Libraries Special Collections, for our conversations about Lorenzo Homar, and for being an inspiration. To Dr. Robin Poynor, for accepting to be a member of my committee and trusting my work. I also would like to acknowledge Dr. Margarita Vargas- Betancourt, Caribbean Basin Librarian at UF Smathers’ Library Latin American and Caribbean Collection (LACC), for all her continuous advice and support given during the making of this thesis. I also need to include my gratitude to people in Puerto Rico that helped me by granting me access to the sources used in my research. From a place close to my heart, Unidad de Colecciones of the Instituto de Cultura Puertorriqueña, Carmen S. Torres and Laura M. Quiñones. Your work at the Instituto and your exemplary dedication to protect our cultural patrimony was a major inspiration for my thesis work. The staff of the Colección Puertorriqueña and Colección de las Artes at the Lázaro Library of the University of Puerto Rico in Rio Piedras, thank you for allowing me to use and peruse books and ephemeral material about Homar and Puerto Rican culture. 4 Special thanks to Jessica Valiente from the Museo de Historia, Antropología y Arte of the University of Puerto Rico in Rio Piedras Recinto de Río Piedras, for allowing me to read the letters between Homar and Efraín Barradas. Lastly, I would like to express my gratitude and acknowledge the support of three special ladies who were my companions during this art history joyride. Marcela, Lauren, and Chloé be sure you all have a special place in my heart. We’re definitely the fab four! 5 TABLE OF CONTENTS page ACKNOWLEDGMENTS .................................................................................................. 4 LIST OF FIGURES .......................................................................................................... 7 LIST OF ABBREVIATIONS ........................................................................................... 11 ABSTRACT ................................................................................................................... 12 CHAPTER 1 INTRODUCTION .................................................................................................... 13 2 LORENZO HOMAR: AN ARTIST RETURNS TO HIS MOTHERLAND .................. 20 Historical and Political Evolution of Puerto Rico ..................................................... 21 The CAP and El Taller de Gráfica Popular (TGP), the Foundation of Latin American Printmaking.......................................................................................... 26 The Centro de Arte Puertorriqueño ......................................................................... 33 Homar and his Artistic Beginnings .......................................................................... 36 The Influence of Ben Shahn on Homar’s Work ....................................................... 41 Summary ................................................................................................................ 44 3 LA PLENA: MUSIC BECOMES A PICTURE .......................................................... 55 Tomás Blanco and his Writings about Plena Music ................................................ 56 The Origins of Plena Music ..................................................................................... 61 The Portfolio Las Plenas ......................................................................................... 65 Leopoldo Méndez and his Incidentes melódicos, a Primer for Las Plenas ............. 68 Homar and the Plena Song El Obispo de Ponce (The Bishop of Ponce) ............... 72 Summary ................................................................................................................ 76 4 EL OBISPO DE PONCE ACCORDING TO LORENZO HOMAR ............................ 85 Homar’s Compositional Style .................................................................................. 86 The Bishop .............................................................................................................. 90 The Churchgoers or Townfolk ................................................................................. 95 Summary ................................................................................................................ 98 CONCLUSION ............................................................................................................ 109 LIST OF REFERENCES ............................................................................................. 112 BIOGRAPHICAL SKETCH .......................................................................................... 119 6 LIST OF FIGURES Figure page 1-1 Lorenzo Homar, El Obispo de Ponce, 1954. Linocut print, 32.5 x 49.7 cm (sheet). From the Plenas portfolio. Special and Area Studies Collections, George A. Smathers Libraries, University of Florida. .......................................... 19 2-1 Lorenzo Homar, El Obispo de Ponce, 1954. Linocut print, 32.5 x 49.7 cm (sheet). From the Plenas portfolio. Special and Area Studies Collections, George A. Smathers Libraries, University of Florida. .......................................... 45 2-2 Leopoldo Méndez, Calaveras televisiosas, 1949. Linocut print, 23 x 34 cm. TGP Collection, Center for Southwest Research, General Library, University of New Mexico, 999-006-0171 ............................................................................ 46 2-3 Lorenzo Homar (seated last from L-R) and fellow founding members of the Centro de Arte Puertorriqueño, 1952. ICAA MFAH (International Center for the Arts of the Americas at the Museum of Fine Arts, Houston). ........................ 47 2-4 Cover of the portfolio of Las Plenas, Centro de Arte Puertorriqueño, 1954. From the Plenas portfolio. Special and Area Studies Collections, George A. Smathers Libraries, University of Florida. ........................................................... 48 2-5 Francisco Oller, El Velorio,1893. Oil on canvas, 96 x 156 ½ inches. From the collection of the Museum of the University of Puerto Rico, Rio Piedras, PR. ..... 49 2-6 Lorenzo Homar, House of Cartier earring designs with sapphires, diamonds and gold, ca. 1937. Pencil, gouache on paper, 17.3 x 20.8 cm (sheet). Princeton University Library. Graphic Arts. ......................................................... 50 2-7 Lorenzo Homar, Arthur Buckley, Boston, 1944. Pen and ink, watercolor pencil on paper. 29.6 x 22.3 cm (sheet). Princeton University Library. Graphic Arts. GA 2007.03819 .......................................................................................... 51 2-8 Lorenzo Homar, Cpl. Ernest Hughes, Los Angeles, 1944. Pen and ink, watercolor pencil on paper. 29.8 x 22.3 cm (sheet). Princeton University Library. Graphic Arts. GA 2007.03821 ................................................................ 51 2-9 Lorenzo Homar, Le Lo Lai, 1952-53. Oil on wood, 26 x 36 inches. From the collection of the Museum of the University of Puerto Rico, Rio Piedras, PR. ..... 52 2-10 Ben Shahn, Hunger, 1946. Gouache on composition board. The Advancing American Art Collection. Julie Collins Smith Museum of Fine Art. Auburn University, Alabama. Accession number 1948.1.31. .......................................... 53 7 2-11 Ben Shahn, Coal miner’s child, Omar, West Virginia, 1935. Black-and-white photography. Farm Security Administration-Office of War Information (FSA- OWI) Collection at the Library of Congress, Washington, D.C. .......................... 54 3-1 Lorenzo Homar, Juan Morel Campos, 1957. Oil on canvas, 38” x 191/2 inches. From the collection of the Instituto de Cultura Puertorriqueña ............... 78 3-2 Cover of the portfolio of Las Plenas, Centro de Arte Puertorriqueño, 1954. From the Plenas portfolio. Special and Area Studies Collections, George A. Smathers Libraries, University of Florida. ........................................................... 79 3-3 Irene Delano, Hacia mejores viviendas, 1947. Silkscreen, 28” x 19’ .................. 80 3-4 Lorenzo Homar, Tintorera del Mar, 1954. Linocut print, 32.5 × 49.7 cm (sheet). From the Plenas portfolio. Special and Area Studies Collections, George A. Smathers Libraries, University of Florida ........................................... 80 3-5 Leopoldo Méndez, Cover of the book Incidentes melódicos del mundo
Load more

Recommended publications
  • David Alfaro Siqueiros's Pivotal Endeavor
    City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Spring 5-15-2016 David Alfaro Siqueiros’s Pivotal Endeavor: Realizing the “Manifiesto de New York” in the Siqueiros Experimental Workshop of 1936 Emily Schlemowitz CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/68 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] David Alfaro Siqueiros’s Pivotal Endeavor: Realizing the “Manifiesto de New York” in the Siqueiros Experimental Workshop of 1936 By Emily Schlemowitz Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History Hunter College of the City of New York 2016 Thesis Sponsor: __May 11, 2016______ Lynda Klich Date First Reader __May 11, 2016______ Harper Montgomery Date Second Reader Acknowledgments I wish to thank my advisor Lynda Klich, who has consistently expanded my thinking about this project and about the study of art history in general. This thesis began as a paper for her research methods class, taken my first semester of graduate school, and I am glad to round out my study at Hunter College with her guidance. Although I moved midway through the thesis process, she did not give up, and at every stage has generously offered her time, thoughts, criticisms, and encouragement. My writing and research has benefited immeasurably from the opportunity to work with her; she deserves a special thank you.
    [Show full text]
  • Asamblea Legislativa
    DIARIO DE SESIONES PROCEDIMIENTOS Y DEBATES DE LA ESTADO LIBRE ASOCIADO t>E PUERTO RICO ASAMBLEA LEGISLATIVA Vol. xxxm SAN JUAN, P.R. - Martes, 22 de mayo de 1979 Núm. 63 SENADO A las tres de la tarde de hoy, martes, 22 de enmendada. 'Ley de Impuestos sobre cantidad de setenta y cinco mil (75,000) mayo de 1979, el Senado reanuda sus trabajos Articulos de Uso y Consumo de Puerto dólares para ser utilizados por la Escuela bajo la Presidencia del sefior Luis Rivera Rico'. para eximir del impuesto general de Odontologia en su programa de Brenes. designado al efecto por el Presidente. de 5% a las tiendas militares de la .prácticas dentales extramurales bajo los sefior Ferré. Guardia Nacional de Puerto Rico." conceptos modernos de prestación de servicios." ASISTENCIA La Comisión de Gobierno. propone al Senado que se apruebe. sin enmiendas: Las Comisiones de Hacienda y de Salud. Sefiora: Bienestar y Calidad Ambiental proponen al Benitez P. de la C. 1058 Senado que se apruebe. con enmiendas el: Sefiores: Calero Juarbe "Para enmendar el Articulo 3 de la Ley Núm. P. del S. 451 Campos Ayala 128 de 29 de junio de 1977, enmendada, a Cancel Rios los fines de extender el término anual . "Para enmendar el inciso (B) del párrafo (i~). Deynes Soto dentro del cual el Gobernador somete a la del apartado (aa); adicionar un nuevo Sefiora: Asamblea Legislativa su Informe sobre apartado (mm) a la Sección 23; y Fernández la Situación Energética del Pais." . enmendar el párrafo (1) d~apartado (a) Señores: de la Sección 24 de la Ley núm.
    [Show full text]
  • Schedule Announced for Puerto Rican Super-Group Plena Libre's 2019-20
    Contact: Margo Strebig Director of Communications & PR University of Chicago, Department of Music 773.702.3427 [email protected] Photos: http://bit.ly/PlenaLibre1920 For Immediate Release September 25, 2019 Schedule announced for Puerto Rican super-group Plena Libre’s 2019-20 UChicago residencies Activities will include performances, dance workshops, round-table discussions, and more. Chicago (Hyde Park) – The University of Chicago Department of Music is pleased to announce the schedule of events for Puerto Rican band Plena Libre’s 2019-20 residencies. The band, which is the University’s newest Don Michael Randel Ensemble-in-Residence, will participate in a rich variety of events and programs, including concerts, workshops, moderated public discussions, classroom visits, and more. Nominated for multiple GRAMMY and Latin GRAMMY awards, Plena Libre has earned acclaim for taking the once-dormant style of plena music and reclaiming it for a new generation. Featuring three vocalists, bass, drums, horns, and requinto guitar, the group infuses their contemporary Caribbean compositions with a deep sense of the unique indigenous musical traditions developed in Puerto Rico over a century ago. “The University is honored to welcome Plena Libre as the Don Michael Randel Ensemble-in-Residence,” said David Levin, Senior Advisor to the Provost for Arts. “We look forward to sharing the distinctive musical style of Puerto Rico through a wide variety of adventurous and creative programming.” Over three separate weeks in November, March, and April-May, Plena Libre will give four public performances, accompany three Puerto Rican dance workshops, lead workshops with University instrumental ensembles, participate in luncheon discussions with the Center for Latin American Studies, visit music and Spanish language classes, and more.
    [Show full text]
  • Sugerencias Para La Formulación De Propuestas De
    Universidad Autónoma de San Luís Potosí Facultad del Hábitat Programas de la Licenciatura de Conservación y Restauración de Bienes Culturales Muebles HISTORIA DE LOS BIENES MUEBLES VI DATOS BÁSICOS DEL CURSO Semestre: VI Tipología: Teórica Clave: 76020 Carácter: Instrumental Área: Investigaciones Humanísticas Tipo: Obligatoria Departamento: Humanidades Horas clase: 3 Carrera: CRBCM Horas trabajo adicional 3 Elaboró: Rest. Javier Quirós Vicente Créditos: 6 Revisó: Dr en Arq Alejandro I. Galván Arellano / Ing. Ada María Avilés Quiroz Fecha: Abril de 2009 OBJETIVOS DEL CURSO Objetivos Al finalizar el curso el estudiante será capaz de: generales El alumno será capaz de comprender la producción de los distintos bienes culturales del siglo XX, así como su concepto y sus valores. Tanto en el ámbito de lo nacional como en lo internacional, diferenciará las producciones características en las distintas regiones del territorio mexicano y podrá realizar juicios críticos de las producciones artísticas. Objetivos Unidades Objetivo específico específicos 1. Porfirismo en el Analizará y comprenderá como el modo de pensar y de arte y la vida expresarse en la época del porfiriato se reflejó en una serie de cotidiana lenguajes y manifestaciones que influyeron en el arte y en la vida cotidiana de manera variada pero contundente. Considerando el concepto y valores del bien mueble. 2. El Analizará y reflexionará sobre la evolución en la expresión del Nacionalismo nacionalismo de corte revolucionario que influyó el ámbito revolucionario artístico del México independiente. Dando énfasis en el concepto y valores del bien cultural mueble y su evolución. 3. La Nueva Analizará y comprenderá la formación de las nuevas figuración: las escuelas y corrientes artísticas de vanguardia y la vanguardias y presencia de una nueva generación de lenguajes y la generación de ruptura manifestaciones de ruptura, ante el pensamiento de la época.
    [Show full text]
  • Documentary Essay by Dr
    David Alfaro Siqueiros Self-Portrait with Mirror An essay by Dr. Irene Herner with the collaboration of Mónica Ruiz and Grecia Pérez. mary-anne martin | fine art 23 East 73rd Street New York, NY 10021 (212) 288-2213 www.mamfa.com Cover: David Alfaro Siqueiros Self-Portrait with Mirror 1937 pyroxylin on Bakelite 30 × 24 × ¼ in (76.2 × 61.0 × 0.6 cm) PROVENANCE Acquired directly from the artist by George Gershwin, NY, 1937 Estate of George Gershwin By descent to the present owner Photo: Grecia Pérez In 1936-37 New York, “Siqueiros’ workshop was a brave and dazzling new world, a calamitous introduction to a new way of thinking about art... Siqueiros generated a ‘torrential flow of ideas and new projects’ with a child’s eye for investigation and surprise.”1 I have written about and looked for Autorretrato con espejo since 1994. It was painted by Siqueiros in New York in his Siqueiros Experimental Workshop, signed and dated 1937. This is one of the key paintings in the process of the artist to construct kinetic dynamism in painting. It was out of sight, nobody knew who owned it, until now that it is on view at Mary-Anne Martin Fine Art, New York. The specialists thought it had been destroyed. In 1994, I rescued an archive photograph of it in black and white. Raquel Tibol published this photo on the cover of her 1996 anthology: Palabras de Siqueiros. David Alfaro Siqueiros, Self-Portrait What a great achievement it is to have found this original with Mirror, detail of the signature, 1937.
    [Show full text]
  • Introduction and Will Be Subject to Additions and Corrections the Early History of El Museo Del Barrio Is Complex
    This timeline and exhibition chronology is in process INTRODUCTION and will be subject to additions and corrections The early history of El Museo del Barrio is complex. as more information comes to light. All artists’ It is intertwined with popular struggles in New York names have been input directly from brochures, City over access to, and control of, educational and catalogues, or other existing archival documentation. cultural resources. Part and parcel of the national We apologize for any oversights, misspellings, or Civil Rights movement, public demonstrations, inconsistencies. A careful reader will note names strikes, boycotts, and sit-ins were held in New York that shift between the Spanish and the Anglicized City between 1966 and 1969. African American and versions. Names have been kept, for the most part, Puerto Rican parents, teachers and community as they are in the original documents. However, these activists in Central and East Harlem demanded variations, in themselves, reveal much about identity that their children— who, by 1967, composed the and cultural awareness during these decades. majority of the public school population—receive an education that acknowledged and addressed their We are grateful for any documentation that can diverse cultural heritages. In 1969, these community- be brought to our attention by the public at large. based groups attained their goal of decentralizing This timeline focuses on the defining institutional the Board of Education. They began to participate landmarks, as well as the major visual arts in structuring school curricula, and directed financial exhibitions. There are numerous events that still resources towards ethnic-specific didactic programs need to be documented and included, such as public that enriched their children’s education.
    [Show full text]
  • Finding Aid for the Lola Alvarez Bravo Archive, 1901-1994 AG 154
    Center for Creative Photography The University of Arizona 1030 N. Olive Rd. P.O. Box 210103 Tucson, AZ 85721 Phone: 520-621-6273 Fax: 520-621-9444 Email: [email protected] URL: http://creativephotography.org Finding aid for the Lola Alvarez Bravo Archive, 1901-1994 AG 154 Finding aid updated by Meghan Jordan, June 2016 AG 154: Lola Alvarez Bravo Archive, 1901-1994 - page 2 Lola Alvarez Bravo Archive, 1901-1994 AG 154 Creator Bravo, Lola Alvarez Abstract Photographic materials (1920s-1989) of the Mexican photographer Lola Alvarez Bravo (1903 [sometimes birth date is recorded as 1907] -1993). Includes extensive files of negatives from throughout her career. A small amount of biographical materials, clippings, and publications (1901-1994) are included. The collection has been fully processed. A complete inventory is available. Quantity/ Extent 32 linear feet Language of Materials Spanish English Biographical Note Lola Álvarez Bravo was born Dolores Martínez de Anda in 1903 in Lagos de Moreno, a small city in Jalisco on Mexico's Pacific coast. She moved to Mexico City as a young child, after her mother left the family under mysterious circumstances. Her father died when she was a young teenager, and she was then sent to live with the family of her half brother. It was here that she met the young Manuel Alvarez Bravo, a neighbor. They married in 1925 and moved to Oaxaca where Manuel was an accountant for the federal government. Manuel had taken up photography as an adolescent; he taught Lola and they took pictures together in Oaxaca. Manuel also taught Lola how to develop film and make prints in the darkroom.
    [Show full text]
  • HISPANIC MUSIC for BEGINNERS Terminology Hispanic Culture
    HISPANIC MUSIC FOR BEGINNERS PETER KOLAR, World Library Publications Terminology Spanish vs. Hispanic; Latino, Latin-American, Spanish-speaking (El) español, (los) españoles, hispanos, latinos, latinoamericanos, habla-español, habla-hispana Hispanic culture • A melding of Spanish culture (from Spain) with that of the native Indian (maya, inca, aztec) Religion and faith • popular religiosity: día de los muertos (day of the dead), santería, being a guadalupano/a • “faith” as expession of nationalistic and cultural pride in addition to spirituality Diversity within Hispanic cultures Many regional, national, and cultural differences • Mexican (Southern, central, Northern, Eastern coastal) • Central America and South America — influence of Spanish, Portuguese • Caribbean — influence of African, Spanish, and indigenous cultures • Foods — as varied as the cultures and regions Spanish Language Basics • a, e, i, o, u — all pure vowels (pronounced ah, aey, ee, oh, oo) • single “r” vs. rolled “rr” (single r is pronouced like a d; double r = rolled) • “g” as “h” except before “u” • “v” pronounced as “b” (b like “burro” and v like “victor”) • “ll” and “y” as “j” (e.g. “yo” = “jo”) • the silent “h” • Elisions (spoken and sung) of vowels (e.g. Gloria a Dios, Padre Nuestro que estás, mi hijo) • Dipthongs pronounced as single syllables (e.g. Dios, Diego, comunión, eucaristía, tienda) • ch, ll, and rr considered one letter • Assigned gender to each noun • Stress: on first syllable in 2-syllable words (except if ending in “r,” “l,” or “d”) • Stress: on penultimate syllable in 3 or more syllables (except if ending in “r,” “l,” or “d”) Any word which doesn’t follow these stress rules carries an accent mark — é, á, í, ó, étc.
    [Show full text]
  • Almanaque Marc Emery. June, 2009
    CONTENIDOS 2CÁLCULOS ASTRONÓMICOS PARA LOS PRESOS POLÍTICOS PUERTORRIQUEÑOS EN EL AÑO 2009. Jan Susler. 6ENERO. 11 LAS FASES DE LA LUNA EN LA AGRICULTURA TRADICIONAL. José Rivera Rojas. 15 FEBRERO. 19ALIMÉNTATE CON NUESTROS SUPER ALIMENTOS SILVESTRES. María Benedetti. 25MARZO. 30EL SUEÑO DE DON PACO.Minga de Cielos. 37 ABRIL. 42EXTRACTO DE SON CIMARRÓN POR ADOLFINA VILLANUEVA. Edwin Reyes. 46PREDICCIONES Y CONSEJOS. Elsie La Gitana. 49MAYO. 53PUERTO RICO: PARAÍSO TROPICAL DE LOS TRANSGÉNICOS. Carmelo Ruiz Marrero. 57JUNIO. 62PLAZA LAS AMÉRICAS: ENSAMBLAJE DE IMÁGENES EN EL TIEMPO. Javier Román. 69JULIO. 74MACHUCA Y EL MAR. Dulce Yanomamo. 84LISTADO DE ORGANIZACIONES AMBIENTALES EN PUERTO RICO. 87AGOSTO. 1 92SOBRE LA PARTERÍA. ENTREVISTA A VANESSA CALDARI. Carolina Caycedo. 101SEPTIEMBRE. 105USANDO LAS PLANTAS Y LA NATURALEZA PARA POTENCIAR LA REVOLUCIÓN CONSCIENTE DEL PUEBLO.Marc Emery. 110OCTUBRE. 114LA GRAN MENTIRA. ENTREVISTA AL MOVIMIENTO INDÍGENA JÍBARO BORICUA.Canela Romero. 126NOVIEMBRE. 131MAPA CULTURAL DE 81 SOCIEDADES. Inglehart y Welzel. 132INFORMACIÓN Y ESTADÍSTICAS GENERALES DE PUERTO RICO. 136DICIEMBRE. 141LISTADO DE FERIAS, FESTIVALES, FIESTAS, BIENALES Y EVENTOS CULTURALES Y FOLKLÓRICOS EN PUERTO RICO Y EL MUNDO. 145CALENDARIO LUNAR Y DÍAS FESTIVOS PARA PUERTO RICO. 146ÍNDICE DE IMÁGENES. 148MAPA DE PUERTO RICO EN BLANCO PARA ANOTACIONES. 2 3 CÁLCULOS ASTRONÓMICOS PARA LOS PRESOS Febrero: Memorias torrenciales inundarán la isla en el primer aniversario de la captura de POLÍTICOS PUERTORRIQUEÑOS EN EL AÑO 2009 Avelino González Claudio, y en el tercer aniversario de que el FBI allanara los hogares y oficinas de independentistas y agrediera a periodistas que cubrían los eventos. Preparado por Jan Susler exclusivamente para el Almanaque Marc Emery ___________________________________________________________________ Marzo: Se predice lluvias de cartas en apoyo a la petición de libertad bajo palabra por parte de Carlos Alberto Torres.
    [Show full text]
  • Acquisitions Edited.Indd
    1998 Acquisitions PAINTINGS PRINTS Carl Rice Embrey, Shells, 1972. Acrylic on panel, 47 7/8 x 71 7/8 in. Albert Belleroche, Rêverie, 1903. Lithograph, image 13 3/4 x Museum purchase with funds from Charline and Red McCombs, 17 1/4 in. Museum purchase, 1998.5. 1998.3. Henry Caro-Delvaille, Maternité, ca.1905. Lithograph, Ernest Lawson, Harbor in Winter, ca. 1908. Oil on canvas, image 22 x 17 1/4 in. Museum purchase, 1998.6. 24 1/4 x 29 1/2 in. Bequest of Gloria and Dan Oppenheimer, Honoré Daumier, Ne vous y frottez pas (Don’t Meddle With It), 1834. 1998.10. Lithograph, image 13 1/4 x 17 3/4 in. Museum purchase in memory Bill Reily, Variations on a Xuande Bowl, 1959. Oil on canvas, of Alexander J. Oppenheimer, 1998.23. 70 1/2 x 54 in. Gift of Maryanne MacGuarin Leeper in memory of Marsden Hartley, Apples in a Basket, 1923. Lithograph, image Blanche and John Palmer Leeper, 1998.21. 13 1/2 x 18 1/2 in. Museum purchase in memory of Alexander J. Kent Rush, Untitled, 1978. Collage with acrylic, charcoal, and Oppenheimer, 1998.24. graphite on panel, 67 x 48 in. Gift of Jane and Arthur Stieren, Maximilian Kurzweil, Der Polster (The Pillow), ca.1903. 1998.9. Woodcut, image 11 1/4 x 10 1/4 in. Gift of Mr. and Mrs. Frederic J. SCULPTURE Oppenheimer in memory of Alexander J. Oppenheimer, 1998.4. Pierre-Jean David d’Angers, Philopoemen, 1837. Gilded bronze, Louis LeGrand, The End, ca.1887. Two etching and aquatints, 19 in.
    [Show full text]
  • Departamento De Educación Del Estado Libre Asociado De Puerto Rico Escuelas Públicas Desglosadas Por Región, Distrito* Y Nivel Educativos Lista Al Día A: 08/07/2003
    Departamento de Educación del Estado Libre Asociado de Puerto Rico Escuelas públicas desglosadas por región, distrito* y nivel educativos Lista al día a: 08/07/2003 Esta lista ha sido preparada usando como base una lista provista por la Secretaría Auxiliar de Planificación y Desarrollo Educativo, la entidad responsable en el Departamento por su mantenimiento y puesta al día. En caso de usted encontrar errores en esta lista comuníquese con la Secretaría Auxiliar al (787) 759-2000, exts. 3289 y 3290, o envie un mensaje utilizando la página dispuesta a esos fines en: http://www.de.gobierno.pr/EDUPortal/Escuelas/ Le recomendamos que imprima esta lista en papel de tamaño legal, en orientación horizontal ("landscape" o paisaje). * - En esta lista aparecen, enumeradas bajo la Región Educativa de Caguas, algunas escuelas que participan del proyecto piloto de reorganización "Repensando el Departamento de Educación", que reconfigura distritos escolares. ** - Los números de matrícula reportados son los anteriormente vigentes durante el año escolar 2002-2003. Departament of Education - Commonwealth of Puerto Rico Public schools detailed by region, district* and education level Last update: 08/07/2003 Lista creada: 08/07/2003 1:04:14 PM Informe preparado por la Oficina de Sede Electrónica del Departamento de Educación de Puerto Rico Página 1 de 114 REGIÓN DE ARECIBO Lista creada: 08/07/2003 1:04:14 PM Informe preparado por la Oficina de Sede Electrónica del Departamento de Educación de Puerto Rico Página 2 de 114 REGIÓN DE ARECIBO Distrito escolar:
    [Show full text]
  • Creolizing Contradance in the Caribbean
    Peter Manuel 1 / Introduction Contradance and Quadrille Culture in the Caribbean region as linguistically, ethnically, and culturally diverse as the Carib- bean has never lent itself to being epitomized by a single music or dance A genre, be it rumba or reggae. Nevertheless, in the nineteenth century a set of contradance and quadrille variants flourished so extensively throughout the Caribbean Basin that they enjoyed a kind of predominance, as a common cultural medium through which melodies, rhythms, dance figures, and per- formers all circulated, both between islands and between social groups within a given island. Hence, if the latter twentieth century in the region came to be the age of Afro-Caribbean popular music and dance, the nineteenth century can in many respects be characterized as the era of the contradance and qua- drille. Further, the quadrille retains much vigor in the Caribbean, and many aspects of modern Latin popular dance and music can be traced ultimately to the Cuban contradanza and Puerto Rican danza. Caribbean scholars, recognizing the importance of the contradance and quadrille complex, have produced several erudite studies of some of these genres, especially as flourishing in the Spanish Caribbean. However, these have tended to be narrowly focused in scope, and, even taken collectively, they fail to provide the panregional perspective that is so clearly needed even to comprehend a single genre in its broader context. Further, most of these pub- lications are scattered in diverse obscure and ephemeral journals or consist of limited-edition books that are scarcely available in their country of origin, not to mention elsewhere.1 Some of the most outstanding studies of individual genres or regions display what might seem to be a surprising lack of familiar- ity with relevant publications produced elsewhere, due not to any incuriosity on the part of authors but to the poor dissemination of works within (as well as 2 Peter Manuel outside) the Caribbean.
    [Show full text]