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Eladio Rivadulla: Pioneer of design and printing in artistic serigraphy; of Cuban film poster
Eladio Rivadulla: Pioneer of design and printing in artistic serigraphy; of Cuban film poster

There is magic in Time’s chisel. It sculpts either in diamond or sand. It eternizes an instant’s traits if an artist helps it to turn them into a novel, a statue, a painting, a melody and, in more recent times, into a film, which sometimes covers the total work, the opera that was an aspiration of synthesis. Time eternizes when it touches, because its path can be history, more or less important: that of a hero or a wise man or a crustacean which, turned into stone, shelters us in palaces and houses that are man’s shell, his shelter; eternizing time also decomposes; becomes a fascinating face wrinkled; gets cellulite in the most solid buttocks and osteoporosis in the upright skeleton. Because time, in its omnipresent magic, takes command of life and death, of what is alive because is dying; and while it dies, is reborn and lives new lives. Their fragments are today a child, a teenager, a young man, a mature man, an elderly man and even older. If what is comes goes, something remains; and the always surprising eternal magician creates —to surprise those who watch and judge—, new surprises, so surprising, that what you once spurned, haughtily judging, recovers or reaches with its passing —a stroke of that magic that is called, sometimes, the patina of time.

I am in the presence of posters that come to life again; that come to give us funny messages, with the deep laugh of those who do not give up, of those who are in us, because they were before us. I look at them affectionately, lovingly, I get fascinated and I ask myself, my fiends, whether it is because I have already entered that phase in which delusions have the indescribable charm of the memories they call nostalgia.


Alfredo Guevara. Founder of the ICAIC and the International Festival of New Latin-American Cinema of Havana.
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(...) The Cuban movie poster had an interesting precedent in the promotion of foreign films since the ‘40s. Associated to this poster genesis there is a name: Eladio Rivadulla Martínez, and a technique: serigraphy. What started then and was systematically continued during the ‘50s, lay the foundations of a serigraphic tradition in Havana.

(...) Rivadulla has designed more than 3000 books and periodicals, as well as more than 3500 posters, mainly about films, politics and business.

This enormous work of a whole life enriches and ennobles the Cuban visual culture in general and, especially the graphic culture. If we can say now that we are the only country in the world with more than a century of uninterrupted serigraphic work, regarding the poster, that is in part due to Eladio Rivadulla Martinez’s work. (...) Rivadulla’s professional career clearly show how important man still is, (...) To this man and the culture he represents, we pay homage, knowing that true creation, no matter what it comes from, can only be made by men who have been men of their time.

Dr. Jorge R. Bermúdez. December 2000.
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Eladio Rivadulla’s work fills a space in art that has reached its peak in our days.

Main discipline in which he has poured his talent, graphic design reaches not only the Cuban cinematography, but culture in general, of which Cuban cinematography is part as well as a faithful reflection, noble and politically committed to its time.

“Nobody can give what he does not have” is a felt maxim, ancient and true, that is in effect in the teaching work carried out by Rivadulla as a professor.

To his assiduously practiced craft and to his constant pursuit of self-improvement, the Academy and the people have paid homage, in awards and prizes so much valuable for him –since they express the feeling of admiration and gratitude towards a person who has honestly served and consistency to his country and to the values of human being.
Dr. Eusebio Leal Spengler, Havana City Historian
December 2002.
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...A good poster like the ones mentioned before can not only make a city more attractive; sometimes can even tell us as much as a book. And just by suggesting an idea. People understand. People—as Maikovski used to say— should not be underestimated. Their intelligence and sensibility should be respected...
Revolución newspaper, May 20th, 1963.