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.
There are five chapters in La Pintura de Héctor Poleo, Simón Noriega’s book about the Venezuelan artist. The one chosen here is chapter III, “El surrealismo de Poleo.” Section 4—“¿Reinterpretación o Mímesis?”—presents Poleo’s Surrealism as a personal and enriching transposition that reinterprets the figurative syntax of the Surrealist aesthetic. It thus becomes a Latin American expression endowed with its own personality that helps to shape that aesthetic.
In this essay, the historian and critic Simón Noriega (1940?2014) undertakes the most extensive and timely study ever written about the life and work of Héctor Poleo (1918–89). This is essential reading for those who would gain a broader understanding of this Venezuelan painter’s work through the late 1960s. Noriega’s reading and analysis of Poleo’s paintings acknowledges the artist’s contribution to Latin American Figuration in the form of ideas drawn from European Surrealism. Noriega describes these ideas as a simple “transposition” of the Surrealist aesthetic; the term conveys the nature of Poleo’s use and adaptation of the style to his own local experience, a feature that distances his work from the movement’s formal and conceptual mimesis. This is the first and the most significant (academic) essay ever written about this artist’s work, which includes a wealth of references and documents about Poleo.
To access other articles about this painter’s work, see the reviews by Alberto Junyent “Aromas de la gracia” [doc. no. 1153851] and “Obras recientes de Héctor Poleo” [doc. no. 1153835]; the article by Juan Liscano “Pedro León Castro y Héctor Poleo” [doc. no. 850175]; the articles by Simón Noriega, the author of this document, “Fuentes concretas del surrealismo de Poleo” [doc. no. 1153819] and the essay from the book La Pintura de Héctor Poleo, titled “Poleo y la cultura figurativa de los años cuarenta” [doc. no. 1153776]; the essay by Denys Chevalier “Poleo: la opción simbolista” [doc. no. 1162167]; the articles by Alfredo Boulton “Introducción” [doc. no. 1153883] and “El tema de la figura humana en la obra de Héctor Poleo” [doc. no. 1153964]; Bégica Rodríguez’s introductory essay in the catalogue for the exhibition Poleo desconocido (1997), “Héctor Poleo, inventor y fabulador de formas” [doc. no. 1153899]; the essay by Sergio Antillano “Imagen sucesiva de Héctor Poleo” [doc. no. 1172085]; and the essay by Carlos Silva in the book Poleo. Categorías del espíritu, “Arte y estilo de Héctor Poleo” [doc. no. 1172190].