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.
The AIAPE’s magazine published this report on the activities of Olimpia Torres, Joaquín Torres García’s daughter. In late 1936, after the outbreak of the Spanish Civil War, Olimpia was in Madrid with her husband, the Spanish sculptor Díaz Yepes; this was why the article mentions her role as an artist, drawing Republican propaganda during the early years of the fratricidal war. The article also transcribes excerpts of letters she sent from Madrid to her family in Montevideo.
The Spanish Civil War broke out in 1936 (1936-39), after army forces rose up against the government of the Second Spanish Republic, and led to the long dictatorship headed by the general who directed the coup, Francisco Franco (1939–75). This report in the AIAPE magazine refers to the graphic work that Olimpia Torres Piña, Joaquín Torres García’s daughter, was doing in Spain at the time. Her goal was to educate members of the public on how to protect themselves in the event of aerial bombardments, and her artistic solution was to express the message in the “comic strip” format of traditional Catalonian aleluyas. In 1934 Olimpia had traveled to Montevideo with her parents, brothers and sisters, and her companion, Eduardo Díaz Yepes. Two years later she decided to return to Spain with the Spanish sculptor, after the Civil War had already begun. They spent years of anxiety after being separated when Díaz Yepes was arrested and sent to one of General Franco’s extermination camps, from which he was able to escape with the help of friends. The couple’s defiant political position prompted Olimpia to draw aleluyas as a way of contributing to the cause. The excerpts from her letters that are reproduced in the article testify both to her relationship with her family and to the pride with which she assumes the role of “political artist,” while respective her father’s aesthetic principles. Olimpia and her husband were persecuted and hounded; they went to France and later returned to Montevideo in 1948.