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.
Juan Calzadilla reviews the work of the Venezuelan visual artist Pedro Ángel González. In his essay, Calzadilla mentions the artist’s creativity and critical skills, referring to his constant reflection on his own work and the work of other Venezuelan artists. Calzadilla also discusses the artist’s creative process throughout the course of his career, noting the consistency between his prodigious memory and his meticulous works of art with their definition of form, adherence to object, and depictions of nature influenced by his Impressionist background. The essayist also refers to the constants in the artist’s painting, such as his treatment of nature, weather, and light (the latter being the eternal and endless subject of his art). His portrayal of natural phenomena prompts Calzadilla to describe him as a chronicler of topographical transformations.
On the occasion of Nueva temática en la pintura del maestro, the exhibition of work by the Venezuelan visual artist Pedro Ángel González (1901–81) at the Centro de Arte Euroamericano de Caracas (1977), the art critic Juan Calzadilla (b. 1931) produces a significant review of the artist’s body of work. He also writes about Venezuelan painting in general at that particular point in time. Relying on his skill with words and his knowledge of the artist’s creative process, Calzadilla discusses certain constant features of his work, such as the definition of form he achieves with his painstaking treatment of light, composition, and environments. Calzadilla talks about artists who paint in natural surroundings, in the Impressionist style, as González does. He also talks about those whom he calls “subjective artists,” who paint from nature but distort its essential qualities in order to assert their independence from reality, such as Armando Reverón and Marcos Castillo, among others.