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 reports that given the global importance that Mexican painting has taken on and the interest generated by its evolution, the Departamento del Distrito Federal [DDF, Mexico City-City Hall] founded an art gallery to exhibit works by emerging and established artists. The painter sets forth the DDF program’s goals: (1) the organization of monthly exhibitions; (2) the manner in which the works will be chosen; (3) the lectures offered; (4) the establishment of two annual salons that will include paintings, sculpture, woodwork, photography, architectural projects, books, jewelry, ceramics and furniture designs by Mexican and foreign artists. He states that the painter Carlos Orozco Romero and he himself will act as directors of the gallery. To date, the gallery organized four exhibitions and he comments briefly on the fact that María Izquierdo, as well as the young painters Francisco Dosamantes and Benigno Cid, brought to the fore the gallery’s mission of gaining new recognition for emerging artists. He cites the text that Diego Rivera wrote for the Izquierdo’s catalog. Regarding Rufino Tamayo’s contribution, Mérida refers to the text that the gallery directors wrote about her and the Escuela Libre de Tlalpan [Open-Air School of Tlalpan] headed by Francisco Díaz de León. In Mérida’s estimation, the works presented reveals art that transcends the simple painting of a child. Finally, he announce the gallery’s upcoming activities.
The Galería de Arte of the Departamento del Distrito Federal (DDF) was one of the first governmental efforts dedicated to the dissemination of the country’s artwork since private galleries did not exist. The gallery’s significance, as stated by this text of Carlos Mérida (1891–1984), was its inclusion of the different coexisting art trends at that time: the same that art history has erased by having concentrated them under the vague term: Escuela Mexicana de Pintura [Mexican School of Painting].The text reflects the feeling of the era, one characterized by diversity of thought. The gallery operated for a very short time, but it blazed a trail for other state and private efforts.