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.
Based on a visit of the exhibition at the Salón de la Junta de Cultura Española [The Salon of the Board of Spanish Culture] (originally established in Paris in 1939, but later, due to the World War II, relocated to Mexico City), the author reviews the production of the exiled artists four months after their arrival in Mexico. In his analysis of the paintings, he attempts to define the characteristics of the following artists: Ramón Gaya, Antonio Rodríguez Luna, Miguel Prieto, and Enrique Climent. The article seeks in these artists the connections that relate them with the painting of Spain, with their lineage. For the author of this document, Gaya is a descendant of Diego de Velázquez; Prieto, of Francisco de Goya; Climent, of José de Ribera; and Rodríguez Luna, of the oscurantismo in the visual arts, which spans from the primitives up to the Goya of the black paintings, and the dark and nocturnal Picasso.
As happens in other cases, the exercise of criticism with respect to the works of art, centers around the search for the essence of the tradition of Spanish painting, for that aspect which reveals the intimate and universal feeling of Hispanic essence, as if those elements might be running a risk during exile. That explains the obsessive search for lineage: Ramón Gaya (1910-2005) from Murcia, is visual; Miguel Prieto (1907-1985) from La Mancha, is romantic; Enrique Climent (1897-1980) is baroque; and the Andalusian Antonio Rodríguez Luna (1910-1985) is herreriano, “like the Herrera who conceived of the Escorial as a tomb.”