The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
In “Juanita Mota, la mujer de Reverón,” the Venezuelan artist Itamar Martínez quotes what Juanita Mota, Armando Reverón’s wife (married at the time of his death) has to say about her fraternal and faithful relationship with the painter. In the document, Juanita recalls different stories, such as the day she met the artist; the day she moved into her “mother-in-law’s” house; going out with Reverón at dawn to paint the break of day; the last time she posed for him; the injuries Reverón suffered while he was unbalanced; the purchase of the land where “El Castillete” was built; shared poverty; and how the painter sewed her dresses.
“Juanita Mota, la mujer de Reverón” is required reading for anyone interested in the life and work of the Venezuelan artist Armando Reverón (1880–1954) and his wife Juanita. In this document, the Venezuelan artist Itamar Martínez presents Juanita’s words as a monologue rather than as an interview. Martínez transcribes Juanita Mota’s recollections in her own colloquial way of speaking, thus allowing her to express herself in the language of the people; she describes, and reminisces about her fraternal relationship with the painter, in her various roles as model, wife, or sister. The transcript sheds some light on the unrefined language and rural customs of some coastal populations of modest means. It is undoubtedly a way to allow the subaltern to speak.
Martínez interviewed Juanita at El Castillete (at Macuto, on the Central Coast) in 1972, 18 years after Reverón’s death.