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 printmaker Leopoldo Méndez, with the support of Mariana Yampolsky and Adolfo Mexiac, completed a careful and voluminous edition of the prints by José Guadalupe Posada, which included a selection of his illustrations for free handouts, posters, books, periodicals, and brochures, song books, games, children’s editions, calendars, religious prints and supplications, in addition to rhymed editions of funny “Calaveras” del Día de Muertos [All Souls’ Day poems].
José Guadalupe Posada (1852-1913) was the model artist for the activists of the Taller de Gráfica Popular [TGP, Workshop for Popular Printmaking]. For the first time a printmaker linked to popular prints—although it would be more accurate to define him as an illustrator associated to the industrial press—was recognized by the cultural authorities and the best known professional artists. He was even granted the title of fundamental and initial protagonist of a Mexican visual art. The importance of Posada’s work lies in the influence he exercised on painters, muralists, and printmakers who were part of the post-revolutionary artistic movement. In the decade of the 1930s, Posada was valued as a popular artist. His drawings and prints criticized, with black humor, the existing social differences and injustice, the political affairs, the daily life, and the religious beliefs. The legacy of the school that Posada left for future generations was followed by artists such as Diego Rivera, David Alfaro Siqueiros, José Clemente Orozco, Leopoldo Méndez, Fernando Leal, among many others.