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.
In “Los nuevos pintores veracruzanos” [The new painters of Veracruz], Ortega makes a collage about what artists happen to be painting or sculpting at the Escuela Nacional Preparatoria (ENP) and the Academy. He mentions the most representative cases such as Ernesto García Cabral and Diego Rivera and speaks of the artwork of Rafael Vera de Córdova, who creates pure watercolors; Ortega mentions Francisco Reyes Pérez, whose art he considers fiendish. He also includes Fermín Revueltas—about whom it was said that he died after a fight with Mateo Bolaños, which was not true—who is painting at the ENP in a style of flat planes of color. That style was typified by working with volume in a new way and with completely pure colors. Among the sculptors, Ortega mentions Carlos Bracho, who is one of the hardest working young artists. As of that time, Bracho’s work had consisted of documentation and study. Ortega is not yet sure where to place Diego Rivera: whether in sectional Cubism or Constructivism.
Ortega was not very careful in his articles. This we know from the fact that the information given could be learned from superficial sources. He considers Diego Rivera (1886–1957) to be a painter from Veracruz simply because the governor of that State gave him a scholarship for his studies. Moreover, Ortega talks about painters and sculptors who are just getting started, but whose careers would be truncated, such as Rafael Vera de Córdova or Francisco Reyes Pérez, who would go off on a sidetrack. Ortega contradicts what he said about Fermín Revueltas (1901–1934) in an earlier article, “that he had committed suicide,” which was, instead, a fight with Mateo Bolaños. In an effort to define Diego, the writer parades him through the concepts of “Luminism,” “sectional Cubism” and “constructive Cubism.”