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.
This anonymous writer called his column “Revolution backwards.” In it, he says he does not understand the imitation of the primitive lack of skill, the use of ancient symbols, the decomposition of the line as if trying to imitate the hesitant sketch of his precursors, and the seeking of asymmetries. In his view, painting enormous penis and using colors like those found in children’s notebooks are as inappropriate as pretending to speak like a baby when one is an adult. And he asks himself: Who will finally rescue us from these monks dressed up as artists? He is referring to those who, in their quest for novelty or their desire to pose, regress back to Fra Angelico [of the Florentine Quattrocento].
Quite clearly the anonymous author of the column in El Demócrata was not familiar with the European movements that were occurring at the beginning of the century when so many “-isms” began flowing after World War I. This columnist, who remained stuck in the era of Correggio and Titian, did not appreciate the values of the primitive. This article is relevant because it reveals the existence of similar conservative attitudes in the field of visual culture, espoused by people who opposed the revolutionary vision of the muralists.