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.
For the author, the purpose of artistic movements, the so-called “revolutionary” movements, was to suppress academies in order to achieve aesthetic freedom and open up the horizon toward plurality. It is the author’s opinion that in Mexico, revolutionary radicalism has achieved its objective. Academies have reappeared however, though without labels. He asserts that this fact has diminished the importance of the aesthetic movement, although some artists have proposed new trends for the national visual arts, as in the case of Carlos Orozco Romero. He is one of those Mexican painters creating “arte puro” far from any literary intention, without any link to the everyday. The author of the article makes some reflections in his attempt to clarify and explain the artist’s creative process. He concludes that Orozco Romero is universal because he is completely detached from the artistic environment and his Mexican-ism is only present in some pre-eminent aspects of his sensitivity.
The article outlines the achievement of Mexican art during the 1920s which, on different fronts, put an end to academic dominance and allowed for free expression. However, the revolutionary discourse of nationalist art, based on popular representations, soon closed ranks toward different art processes closer to European avant-gardes.
Carlos Orozco Romero (1898-1984) was one of the few artists who, together with Carlos Merida, a Guatemalan who had settled in Mexico (1891-1984), stood fast to the idea of a universal artistic language.