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.
After remarking how difficult it was for artists to exhibit work due to the great expense and the lack of existing spaces, the painter and critic Carlos Mérida talks about the paintings that Rufino Tamayo exhibited in his latest show. Mérida says that Tamayo’s painting was experiencing a moment of purification and evolving in a positive way. He explains that it was a merely pictorial work of true Mexican-ness, not picturesque, and free of glitter and glitz.
Even though this was the most Mexican phase of Carlos Mérida (1891–1984), his discourse very clearly mirrors his interest in the problems intrinsic to visual expression as well as the artist’s innermost expression, qualities that he aptly finds in Rufino Tamayo’s (1899–1991) œuvre. The reproductions of the works exhibited, which are the focal point of this review, offer an interesting visual comparison for studying the evolution of his painting.