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 art critic Luis Cardoza y Aragón talks about the transformation undergone by José Clemente Orozco over a 15-year period, as he compares the murals at the University of Guadalajara with those at the Escuela Nacional Preparatoria in Mexico City, the latter being one of his earliest murals. In the assembly hall of the University of Guadalajara, Cardoza sees a more complex work, as the artist creates, to a certain extent, a symphonic orchestration. Cardoza judges that the mural at the Escuela Nacional Preparatoria lacks the complexity and richness evident in Guadalajara. The painting in Guadalajara, in turn, was conceived as a sphere, and not simply as a succession of mural panels. He points out, however, that in spite of the revolutionary work, he keeps using religious allegories which represent science, labor, struggle and life.
Luis Cardoza y Aragón (1901-1992), the Mexico City-based Guatemalan writer, critic, diplomat, had been a member of the literary group called Contemporáneos since the 1920s. Among the three renowned muralist painters, he preferred José Clemente Orozco (1883-1949); and it is through Cardoza’s writings that we can follow the progress as well as the tendencies that Orozco aimed at in his mural paintings. This artist considered man the central focus of his encompassing project, in which there are no gods. The article is illustrated by multiple and varied views, of the cupola as well as of the walls. The photographs were taken by Luis G. Castañeda.