Designed for an educational film produced by the Puerto Rico Department of Public Instruction, “El Cacique”demonstrates Rafael Tufiño’s important role in government-commissioned visual communication. In the mid-20th century, Puerto Rico heavily invested in cultural and civic education, commissioning top artists to design posters that communicated social, political, and community themes. Tufiño’s bold graphic style—clear silhouettes, strong contrast, and emotional presence—was ideal for conveying messages to the public.
Rafael Tufiño’s striking promotional poster for the 1959 film El cacique captures the pivotal moment in which the protagonist, Salvador, confronts the overbearing local authority figure, Don Enrique. In the film, Don Enrique attempts to persuade the residents of a rural Puerto Rican town that electrification is their most urgent priority. Salvador challenges this narrative, arguing that modern comforts—like Don Enrique’s television, radio, and electric iron—should not outweigh the community’s immediate need for safe drinking water. His own child has fallen ill from a contaminated well, prompting Salvador to declare, “Water is what brings the most sickness to our town… We have brains, and we want to use them.” His words inspire the villagers to unite and address the real crisis affecting their daily lives.
The poster’s depiction of Don Enrique’s dark, enclosed interior space is symbolic, standing in sharp contrast to DIVEDCO’s advocacy of open-air, communal gatherings held on neutral ground. This aligns with the agency’s broader mission to encourage democratic participation and collective problem-solving—an idea Tufiño revisited years later in his 1974 poster 25 Aniversario, which illustrates an inclusive “democratic circle.” Through this imagery, Tufiño not only promotes the film but also reinforces DIVEDCO’s vision of community empowerment and social responsibility.
This aligns with Tufiño’s broader interest in portraying everyday Puerto Ricans navigating societal structures. Posters like this not only served educational purposes but also became emblematic of Puerto Rican graphic design, blending political commentary with accessible, modernist visuals.
Designed for an educational film produced by the Puerto Rico Department of Public Instruction, “El Cacique”demonstrates Rafael Tufiño’s important role in government-commissioned visual communication. In the mid-20th century, Puerto Rico heavily invested in cultural and civic education, commissioning top artists to design posters that communicated social, political, and community themes. Tufiño’s bold graphic style—clear silhouettes, strong contrast, and emotional presence—was ideal for conveying messages to the public.
Rafael Tufiño’s striking promotional poster for the 1959 film El cacique captures the pivotal moment in which the protagonist, Salvador, confronts the overbearing local authority figure, Don Enrique. In the film, Don Enrique attempts to persuade the residents of a rural Puerto Rican town that electrification is their most urgent priority. Salvador challenges this narrative, arguing that modern comforts—like Don Enrique’s television, radio, and electric iron—should not outweigh the community’s immediate need for safe drinking water. His own child has fallen ill from a contaminated well, prompting Salvador to declare, “Water is what brings the most sickness to our town… We have brains, and we want to use them.” His words inspire the villagers to unite and address the real crisis affecting their daily lives.
The poster’s depiction of Don Enrique’s dark, enclosed interior space is symbolic, standing in sharp contrast to DIVEDCO’s advocacy of open-air, communal gatherings held on neutral ground. This aligns with the agency’s broader mission to encourage democratic participation and collective problem-solving—an idea Tufiño revisited years later in his 1974 poster 25 Aniversario, which illustrates an inclusive “democratic circle.” Through this imagery, Tufiño not only promotes the film but also reinforces DIVEDCO’s vision of community empowerment and social responsibility.
This aligns with Tufiño’s broader interest in portraying everyday Puerto Ricans navigating societal structures. Posters like this not only served educational purposes but also became emblematic of Puerto Rican graphic design, blending political commentary with accessible, modernist visuals.
!! Print has slight tropical foxing patina !!
Authenticity: Unsigned
Condition: 4/5
Career: Blue Chip Artist
Print Age: 66
Size: 18 x 30 inches
Rarity: Unnumbered
Print is shipped in flat packaging and comes with Provenance card. Free Shipping
