Tomás Batista
Luquillo, PR, 1935
Luquillo, PR, 1935
Sculptor, restorer. Between 1955 and 1957, Batista took lessons from Spaniard Angel Botello, and he produced his first sculpture in 1957. In 1958, with a scholarship from the Institute of Puerto Rican Culture, Batista spent two years in the ICP’s Sculpture Studio, which was under the direction of famed Spanish-exile sculptor Compostela at that time. In 1960, Batista went to Mexico to study at La Esmeralda School, where he also collaborated with Tomás Chávez Morado on sculptures for La Ciudadela. In 1962, he was given a Guggenheim Fellowship, and he studied in New York. In 1964, he spent time in Spain. In 1966 he became director of the ICP’s Sculpture and Restoration Studio, a program which eventuated in the creation of the Puerto Rico School of Plastic Arts. His first sculptures were in wood, and one of the best-known pieces from this period is Majestad negra (Black Majesty), although on his return to Mexico he chose to use stone. He was commissioned by the Puerto Rican government to do the Monument to the Puerto Rican Jíbaro in Cayey. His work is based on Puerto Rican themes, and his style is figurative, though stylized.
Creative process: It begins in the artist’s imagination. What can be seen in a block of stone or wood? The artist gives free rein to his imagination which guides him to wear out the stone or wood block to create the shapes he sees in his mind.
The artist’s creative process is a solitary one, long, tedious, repetitive and obsessive.
1960
1958-1960
1955-1957
1984
1966
2005
1991
1990
1980
1978
1978
1977
El Capitolio, San Juan, Puerto Rico
1973
1968
1959, 1972
1957
2007
2000
1987
1977-1978
1962
1972
1965
1964
1962
1960
1958, 1960
1958
Hermandad de Artistas Gráficos de Puerto Rico. Puerto Rico Arte e Identidad. San Juan, P.R.: Editorial de la Universidad de Puerto Rico, 1998.
Los tesoros de la pintura puertorriqueña. Museo de Arte de Puerto Rico. San Juan, P.R. 2000.