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 his text, Damián Bayón points out the fact that Venezuelan artist Julio Pacheco Rivas makes use of linear perspective to paint large architectonic constructions that house systems of signs organized in a hierarchy of values in the style of the great masters of the Italian Renaissance. Bayón also reflects on the nexus between perspective, man, and reality. He argues that the artist has rediscovered the Renaissance method of representation, which—along with vast ability to tackle problems of space and color—he deploys to express a dream-like reality. Bayón states that from the very beginning, he has admired and trusted in the work of an artist he has followed with great interest.
In this abstract written in 1983, critic and historian Damián Bayón (1916–1995) provides a vision of the work and career of self-taught painter Julio Pacheco Rivas (b. 1953) whose exhibitions in France during the previous three years Bayón had followed. Bayón pays particular attention to the impeccable technique Pacheco Rivas uses to paint magical architectonic constructions in monumental formats. Pacheco Rivas is a master of perspective; his use of harmonic color is both sensitive and well reasoned. Indeed, Bayón asks himself if the artist might be considered a “modern-day Piranesi.” Owing to his conception of “the urban,” Pacheco Rivas was one of the central figures in the Venezuelan new landscape movement.
This text illustrates the high opinion that Bayón, a widely recognized and respected specialist in Latin American art, had of the work of an artist like Pacheco Rivas, who was active on the Venezuelan art scene in the eighties and on the art scene in Paris, where he lived for ten years. Bayón not only speaks of this Venezuelan painter’s enormous creative potential, but also of how his work found a place on the international art scene.