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 the newspaper El Mundo, an anonymous writer urges people to make clear what side they’re on: whether with the painters of the Escuela Nacional Preparatoria (ENP) or against the motifs and dimensions presented there. While the matter was treated lightly in the prior article (“Pintura Oficial” [Official Painting], doc. 758012), here, the anonymous writer states that Diego Rivera is a great painter. Examples of his work can be seen at the Art Gallery at the Antigua Academia de San Carlos, since the people who attend the Anfiteatro at the ENP are unable to concentrate to see the paintings of this artist or either they laugh or don’t understand it. Based on opinions as such, we may conclude that the anonymous writer defends Rivera’s past more than his present production, since, in his opinion, his work is worth criticizing. In the writer’s opinion, Diego possesses the essence of an artist; however, if he is only appreciated by dunces or critics, who negligently miss the mark, then the paintings of this artist may end up going downhill.
The press critics, who united against the muralists—when the group was just beginning to paint murals—were considered to be a strong, opposing force. This is why positive criticism—mostly coming from foreign artists—was so valuable to the muralists. The leftist press, who discerned a didactic function in the mural, also encouraged them.