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 this text, critic Carlos Silva places emphasis on Hugo Baptista’s skill as a painter. Baptista’s work is characterized by a lyrical use of color and an expressive approach to painterly material. It is with good reason, Silva asserts, that Baptista was awarded two major prizes in 1959, one at the Salón Anual de Arte Venezolano (Museo de Bellas Artes de Caracas) and one (the grand prize) at the Salón Arturo Michelena (Ateneo de Valencia, state of Carabobo).
Venezuelan art critic Carlos Silva (1937–2002) wrote this text on the occasion of Disciplina del delirio, an exhibition of work by painter Hugo Baptista (1935–2005) held at Galería Dimaca in Caracas in 1998. The text contains anecdotes about the artist’s life as well as critical assessments of his work supported by figures like Adriano González León and Perán Erminy, both of whom were close to the El Techo de la Ballena group in the sixties. Silva’s text provides an overview of Baptista’s work; approaching to past events—including his first solo show at the Museo de Bellas Artes, held in 1959—as a way to introduce the current works by the artist in this exhibition, describing, for instance, the series of boats and cranes.