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.
Entitled “Pascual Navarro: de la abstracción a la figuración,” this essay by researcher Cruz Barceló (b.1953) was featured in the catalogue to the show Pascual Navarro. Imágenes y percepciones de un tiempo. Exposición antológica 1945-1965, a tribute to Navarro held at the Fundación Museo Arturo Michelena in Caracas in May 1994. Barceló analyzes the painter’s work in geometric abstraction, produced from 1950 to 1953, and his subsequent return to expressionist figuration, produced from 1953 to 1957. In that second phase, Barceló argues, Navarro revisited his early works while also taking an interest in Abstract Expressionism and Informalism, two movements emerging in Europe at that time. In Barceló’s view, Navarro’s interest in existential philosophy is evident in the gestural figuration and restless color in Navarro’s work from that second period.
The exhibition Pascual Navarro. Imágenes y percepciones de un tiempo. Exposición antológica 1945-1965 was the first of its type, and the exhibition catalogue included a thorough chronology of the life of Venezuelan painter Pascual Navarro (1923–85), as well as articles on his work that had been published in the press. The text by the exhibition’s curator, Cruz Barceló, may be the most detailed and extensive ever published on Navarro’s life and work. Curiously, even though Navarro’s career was meteoric and he enjoyed widespread recognition early on as one of the most promising young artists of his generation, little has been written critically on his work. There is, then, the need for more critical writing on his production and its importance to the history of Venezuelan art.
For texts by Pascual Navarro himself, see “Arte Si... pero sin dogmas” (ICAA digital archive doc. no. 809992) and “Anacronismo e irresponsabilidad” (doc. no. 813751).