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.
Flores Guerrero believed that as an artist Frida Kahlo had been honest with herself and with her era. Her subjective expression in painting was a natural process that mirrored her innermost life as well as an awareness of her body. As an exponent of surrealism—in its local Mexican version—Kahlo achieved a high level of personal expression with two aspects; on the one hand, a palette of “bright colors” and, on the other hand, a kinship with the oneiric trend.
The series of articles that appeared in this edition of México en la Cultura were dedicated to Frida Kahlo (1907–1954); this was one of the first attempts to disseminate knowledge of her painting on a large scale. Above all it was a reflection of the validation the artist enjoyed abroad, thanks to her individual exhibitions in New York (Julien Levy Gallery, 1938) and Paris (Galerie Ronou et Colle, 1939).
The publication México en la Cultura can be understood as the project of a group of elite intellectuals that included Frida Kahlo. The artist received this homage, implying her definitive stature as a “cultural heroine,” just a few years before her death.