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.
This brief article, which was probably excerpted from an anonymous interview with Diego Rivera, reports that if no solution can be found to the problems that have arisen between the painter and Carlos Chávez, the Director of the INBA (Instituto Nacional de Bellas Artes), Rivera will refuse to send his paintings to the exhibition in Paris. Rivera insists on being represented as what he really is—a mural painter who paints subjects of social significance—and has created two works specifically for the occasion: Pesadilla de Guerra [Nightmare of War] and Sueño de Paz [Dream of Peace]. The reporter who interviewed Rivera includes a detailed description of the symbolic figures depicted in these paintings: the French Marianne, the English John Bull, the American Uncle Sam, and portraits of Mao Tse-Tung and Marshall Joseph Stalin.
The controversy had erupted over something quite foreseeable. Diego Rivera (1886-1957) wanted to be represented as a muralist who painted subjects of social significance, and had secured the approval of Carlos Chávez (1899-1978), Director of the INBA, and Fernando Gamboa, the Assistant Director. Both had agreed to send Rivera’s murals Pesadilla de Guerra and Sueño de Paz to the exhibition. However, when they saw the communist tone of the final versions they decided not to submit them. The murals have since been lost.