her grandfather José Géigel y Zenón (1841-1892), “a man of great culture, who was the librarian of the Ateneo for many years up until his death.”37 For Luisa the Ateneo Puertorriqueño would become the platform used to promote the fine arts in Puerto Rico. Since its beginnings, but especially since the 1930s, the Ateneo has had a starring role in Puerto Rican society. Eladio Rodríguez Otero, who was one of its presidents, recognizes this in his book Función del Ateneo en el proceso histórico de Puerto Rico: reflexiones sobre un tema vital: We can state that the Ateneo was one of the principal centers of thought and action, the cultural stronghold from where the Generación of the thirties moved forward into the public life of the country in order to accomplish the transformation that affirmed Puerto Rican nationality, and which also defined official politics during the ominous decade of the first years of the thirties. It was also the time in which the Ateneo defined its character as the definite civic and cultural center of the nation.38 During the next two decades, Luisa’s work at the Ateneo included fine arts, theatre, and participation in important debates such as language, religion, and freedom of speech. The Ateneo’s proceedings note Luisa’selection to the Board of Directors in 1941, specifically on January 2 when she was chosen President of the Fine Arts Section, substituting Nilita Vientós Gastón, who goes on to direct the Literature Section.39 Even before she was officially elected, Luisa had worked at the Ateneo. On the day she was designated, the Board President pronunced “well merited praise for the work Miss Géigel did organizing the Art Gallery.” A week later, during the next meeting on January 14, 1941, Luisa submits a report “ about the cooperation of Mr. Oneill from the Central Aguirre and Mr. Oliver from Arecibo with the Art Gallery at the Ateneo… and also about the reforms completed at the Gallery…And it announces that the Fine Arts Section will sponsor a radio program.” 40 The list of activities, projects, and discussions of Luisa’s participation are collected in the Ateneo proceedings and testify to the richness and diversity of her efforts as chair of the Fine Arts Section during forty years (1941; 1945-1948) and as member until 1981.41 From her position at the Campeche Art Gallery and as member of the Board of Directors of the Ateneo, Luisa mobilized exhibitions, art contests, radio programs, reforms, regulations, and all types of support for the Experimental Theatre at the Ateneo: stage design, costumes, acting, and directing42 (P. 18 Fig. 13). Art and cultural history critics have commented on the historical role of artistic spaces like the Ateneo Gallery under Luisa Géigel’s leadership, and have emphasized her foundational contribution to the promotion of the fine arts in Puerto Rico. Arturo Dávila was one of the first to recognize this in 1964 when he published “Notas de las artes plásticas en Puerto Rico durante los últimos veinte años” in Asomante, one of the most important literary journals in the country, founded and directed by Nilita Vientós Gastón. Dávila writes: When we mention the artists active during those years, we frequently forget the work done by the Ateneo Puertorriqueño in 1940 to inaugurate the Art Gallery and to present one exhibition every two weeks in the
space where most of today’s active artists exhibit. 43 Dávila insisted on the “the past and present unfailing work of the Ateneo in promoting Puerto Rican painting. He concludes by saying: Despite the synthetic character of these brief notes, it would be unpardonable to omit Luisa Géigel de Gandía’s generous activities, supported by the directors of the Ateneo, which she developed with unbounded dedication and enthusiasm. Also Rodríguez Otero recognizes her contributions in his book about the Ateneo: The inauguration of the Gallery of exhibitions at the Ateneo that Luisa Géigel de Gandía directed is of singular importance to the development of the fine arts. Thanks to this gallery, we know the work of artists like Julio Rosado del Valle, Rafael Tufiño. Epifanio Irizarry, Lorenzo Homar, Cristobal Ruiz and many others.44 In addition, during 1941-42, Luisa occupied the vicepresidency of the Puerto Rico Chapter of the American Artists Professional League.45 Again, Luisa’s painting is highlighted on the cover of the first issue of the journal Revista de Arte Insular which was printed in June 1941 and included four oil paintings by Luisa. The photos accompany the article previously published in Puerto Rico Ilustrado by Federico Enjuto, editor of the new journal. That same year, Luisa participated in the 4th Annual Exhibition of the League of American Professional Artists and again her work was well received by critics. Two of her four paintings received favorable comments, Siesta and Ivelisse: “Siesta, a study of a scaled figure done in brilliant oils, with great feeling for color and line.”46 She exhibits again in February of 1943 with watercolor artist Ellen Glines, an activity that is also highlighted in the press.47 In 1946, she exhibits five new oil paintings in a collective sample for the Inauguration of the Edna Coll Gallery in Santurce that was another center for artistic activity at the time. Edna Coll’s cultural promotion, especially in painting, was significant. Her Academy of Art contributed to the development of young artists that would later become distinguished painters. Ten painters participated in the exposition and it was reviewed in El Mundo newspaper and included citations of Edna Coll: “Luisa is our hope, the great promise among our young artists. Her drawings are refined and her technique is precise and bold.” 48 Praise about Luisa’s work continues to be published in the press. In 1947 the column La pequeña entrevista in El Imparcial newspaper asks the public their opinion about contemporary topics. On May 27th four persons were interviewed and asked: “Who do you consider to be the most popular Puerto Rican painter? Two interviewees mentioned Luisa: pianist Carmelina Figueroa said: “There are many good Puerto Rican painters that have well deserved fame. Among them Miguel Pou, Luisa Géigel and Rosado.” The second interviewee was student Milagros Zavala who selected Luisa as the most popular: “The works of our great female painter Luisa Géigel have so inspired me that I have become one of her most sincere admirers. That is why I think she is the most popular artist in Puerto Rico. She is one of the few Puerto Rican women dedicated to the art of painting.” 49
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