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 this article, the indigenist Peruvian anthropologist Luis E. Valcárcel pays tribute to José Sabogal, following his death in 1956. In the author’s opinion, Cuzco (where the painter lived after spending several years studying in Europe) was where Sabogal found himself as an artist “when he discovered the depths of Peru that were magically expressed by Cuzco’s men and things.” He painted the streets and the people; in Lima, on the other hand, he painted people with “a dramatic realism infused with intense emotion.” His works were “a true revolution against the Academy and Europeanism” that “scandalized the upper echelons of ‘Peruvian Art.’” Valcárcel also notes that it was Sabogal who encouraged an appreciation for what is “ours” in popular art—the engraved mates [gourds], the altarpieces, the little bulls from Pucará—in the collection, custody, study, and reproduction of these objects that he worked on with a group of artists at the Museo de la Cultural Peruana, and in the essays and articles he wrote about those works.