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 article, written for the magazine published by the AIAPE (Agrupación de Intelectuales, Artistas, Periodistas, Escritores), Sofía Arzarello recalls the art historian and theorist Elie Faure’s influential work, shortly before his death. This article (along with others that appeared in the left-wing press following his death in France, in 1937), acknowledges how important Elie Faure was at that time for leftist intellectuals, both because of his anti-fascist politics and his support for the Second Spanish Republic (1931–39).
Sofía Arzarello (1897-1984), the long-time essayist and activist, who was also an educator in the fields of phycology and aesthetics, discusses the prolific work of the art historian Elie Faure (1873–1937) who, thirty years earlier, published his essay “Formes et forces” (1907). Arzarello co-founded the AIAPE (Agrupación de Intelectuales, Artistas, Periodistas, Escritores) in 1936, and was a member of the institution’s Press Committee. In the 1930s she was a columnist at a number of cultural publications, and a political activist who supported the Spanish Republic during the Civil War (1936–1939). This article was published six months before the death of the doctor and art historian in recognition of his theoretical influence and, especially, because of his political stance as a militant anti-fascist. During the 1920s and 1930s, Faure influenced many artists and art critics in Uruguay, including Eduardo Dieste, Cipriano Vitureira, and José Cúneo. The first two mention Faure and quote his texts, because he tended to observe artistic forms, explaining them via their differences and analogies, as if they possessed an organic solidity that encompassed very different places and times. In Faure’s view, the expansion of the critical spirit was a vital necessity. In Uruguay, this helped to endorse a move toward criollismo culto trends, contributing new anthropological perspectives of the formal analogies that were studied in works of art.