Recovery of Puerto Rico's National Printmaking Heritage
Go behind the scenes of the conservation project working to protect iconic prints
The professional team was composed of Viviana van Vliet and led by Sol E. Rivera, MAPR’s painting conservationist who worked over a year in the project, awarded in 2019.
The Graphics Art of Puerto Rico
In Puerto Rico, printmaking, greater than other expressions of plastic arts, have had the responsibility of shaping a recognizable image of what is truly Puerto Rican.
The graphic arts movement in Puerto Rico began in 1950. An eloquent reflection of Puerto Rican society.
Portafolio Plenas, by Rafael Tufiño, one of the most notable artists of printmaking in Puerto Rico.
CONSERVATION LAB MAPRMuseo de Arte de Puerto Rico
To undergo a restoration for the first time in XX years
Throughout the year of 2020, 86 artworks made in various types of printmaking techniques were intervened in an effort to guarantee its preservation at the MAPR Conservation Division, by means of the 2019 Art Conservation Project Grant of Bank Of America.
A look at an area of the Museum Conservation Division.
An expert hand
These prints, all on paper, were created by a total of 42 artists, mostly Puerto Ricans. The project awarded, entitled Recovery of Our National Printmaking Heritage, included expert service of two paper conservators who worked on a group of pieces in danger of deterioration.
Beatriz NegrónMuseo de Arte de Puerto Rico
The professionals
Beatriz Negrón was also part of the team led by Sol E. Rivera, MAPR’s painting conservationist.
Beatriz Negrón, conservation expert who worked at Museo de Arte de Puerto Rico for the Bank of America Project.
A hurricane sequel
Part of the graphics collection of the MAPR that were affected by hurricane Maria in 2017, and other artworks requiring much needed conservation, were stored at the Museum’s print deposit.
For “Marti”, a woodcut on paper by Felix Cordero, treatment consisted in dry cleaning -wet cleaning, the reduction of water stains, intervention on insect damage, intervention on tears, filling the gap, and flattening. Before treatment, the creases caused by water damage were evident.
Condition report
Some had dirt, insect droppings, fungus spores and showed water damaged stains areola-shaped. Others had undulations, as a sign that at one point the paper got wet or exposed to high moisture levels resulting in sag, discoloration and delamination.
One of the biggest problems found on these prints was foxing, that causes brownish spots or blotches, a very common deterioration process in tropical climates. On the right, the print after treatment.
BT_recto_2Museo de Arte de Puerto Rico
“Estructura Colgante II”
For “Estructura Colgante II”, by Rolando Lopez Dirube, a woodcut and linolium on paper, the suggested treatment was to temporarily reinforcing tears and lacuna -a small cavity, hole or a rip in the painting- from the front, in order to allow artwork’s handling.
BT_recto_detail_fiber from other paper_1_1Museo de Arte de Puerto Rico
Treatment report
Details of holes, foxing, tears, folds, fibers from another paper, lacuna
Detail view of "Estructura Colgante II”, by Rolando Lopez Dirube.
BT_recto_detail_fiber from other paper_1_2Museo de Arte de Puerto Rico
"Estructura Colgante II”, by Rolando Lopez Dirube
BT_verso_detail_tear_4_2Museo de Arte de Puerto Rico
Before treatment
Details of holes, foxing, tears, folds, fibers from another paper, lacuna
DT_recto_detail_wet cleaningMuseo de Arte de Puerto Rico
During treatment
General view recto and details showing tears and lacuna, and temporarily reinforcing them from the front.
Part of the treatment was wet cleaning. Tears may be mended with wheat starch paste or methyl cellulose, reinforced with Japanese tissue on the verso as necessary, or with archival heat set tissue.
DT_recto_detail_ temporarily consolidating tears_3Museo de Arte de Puerto Rico
During treatment
Temporarily reinforcing tears and lacuna from the front, in order to allow artwork’s handling.
Lacunae may be filled by inserting a patch of paper which is close to the original paper in texture, weight, and color, or with liquid paper pulp.
DSC06265Museo de Arte de Puerto Rico
After treatment
“Estructura Colgante II”, by Rolando Lopez Dirube, is ready. No signs of holes.
Printmaking masters of Puerto Rico to be enjoyed for future
“Recovery Of Our National Printmaking Heritage” is one of 22 Art Conservation Projects selected by Bank of America on 2019 with recipients in 9 countries and 12 U.S. cities and territories.
