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.
Carlos Mérida points out the two essential factors for the success in New York of Emilio Amero’s sketches. One is novelty and public interest in different things; the other is the intrinsic goodness of the evolutionary spirit and the strength of his personality. In his judgment, the painter has managed to capture the cosmopolitan spirit of New York without losing the virtue of his race; Mérida maintains that it is not necessary to make use of external or picturesque means in order to make the artistic vitality of race felt. He also states that it is necessary to admit that Amero’s virtues have been motivated by the strength of his commitment for them to have flourished in such a hostile and competitive environment as North America. Along with the painter’s arduous work, this strength has led distinguished editors to appreciate and seek him out, just as they do with Miguel Covarrubias. Finally, Mérida comments on some illustrations by the artist and notes that Amero is another positive sign in the art of America, that our conquest will always be spiritual and Amero is undoubtedly a new crusader in New York.
The Mexico-based Guatemalan painter, Carlos Mérida (1891–1984), wrote several articles on Emilio Amero at different times on his various artistic pursuits such as photography and cinema. These provide a panorama of his evolving trajectory, which was inclined toward avant-garde artistic experimentation, a characteristic shared by both artists. This article undoubtedly reflects the early Americanist convictions of Mérida, who wanted to find “Mexicanness” in Amero’s New York works. Mérida does not emphasize here, as he would later, his searching nature, his desire to invent and renew the visual arts, or his poetic and universal spirit, which do not imply the loss of the racial qualities the artist should maintain.