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.
The author notes José Sabogal’s comments about his earlier travels and his training in Europe, which he said was helpful for learning “the tricks of the trade, how to move one’s hand smoothly, that’s all,” but claimed that he resisted any kind of influence as much as he could. López Merino describes the indigenist painter’s serious nature and the visual intensity of his work, including what he refers to as distortions or disproportions since they “are the painter’s way of expressing what he sees.” The author associates the artist’s style with the genius of the Inca civilization and asserts his pioneering role, saying that Sabogal “has launched our native, true, vernacular painting tradition.” He discusses Sabogal’s woodcut prints, mentioning the extraordinary energy of his drawings. In closing, the author suggests an etymological interpretation of the painter’s first and last names as “work leads to success.” He predicts that Sabogal’s visit to the Río de la Plata region will be very successful, and encourages him to continue his work in Europe, where he could present an extensive overview of Latin American art.
The Peruvian journalist and art critic Clodoaldo López Merino, using the pseudonym Clodo Aldo, writes about José Sabogal, the founder of Peruvian indigenist painting, on the occasion of his forthcoming exhibitions in Buenos Aires (Sociedad Amigos del Arte, 1928) and Montevideo (Uruguay). This is an edited and slightly longer version of the article published a day earlier in the magazine Variedades (Lima, June 30, 1928) entitled “José Sabogal emprenderá viaje a Argentina,” signed with the pseudonum EGO. [See another article about this trip in the ICAA digital archive: by Manuel A. Seoane “José Sabogal, en Buenos Aires” (doc. no. 1140227)].
Sabogal returned to Cuzco from time to time in search of inspiration. In 1925 he spent several months there, making sketches for a set of works that he did not exhibit in public until 1928, when he showed thirteen woodcut prints in Montevideo, and seventy-six works (oil paintings and prints) in Buenos Aires. People in Lima waited anxiously to hear how these exhibitions had been received in the two Río de la Plata cities, both very prestigious cultural centers in Latin America, and Peruvian newspapers reprinted articles that appeared in the Buenos Aires press. That interest is expressed in this article and other earlier reviews that helped to establish Sabogal’s reputation as a painter of Peru’s natural landscape.