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.
Jorge González Camarena did not believe that Mexican painting was in decline as Rufino Tamayo had stated, rather it was in a searching period. Nevertheless, it should not lose sight of its local and national character, which should be examined and re-affirmed in order to create a different type of painting. Despite Tamayo’s criticism regarding the stalling of Mexican painting, González Camarena believed that the Oaxacan artist’s œuvre was marked by a pure Mexican sentiment, to which he had been incorporating the international subjectivism based in Paris. Tamayo had not forgotten the Mexicanness: that which was specific to our culture and that distinguished him from other painters.
Jorge González Camarena (1908-80) belonged to the second generation of muralists. He studied at the Escuela Nacional de Bellas Artes. He associated himself with the leftist ideas of the time and in 1928 he participated in a movement to support Diego Rivera (1886-1957) as the director of the Escuela Nacional de Bellas Artes. During the dispute that was occurring during the 1950s, González Camarena believed that Mexican painting was on a good path, “Mexico is running its course.” Painters should allow themselves to be seduced by the painting of other nations, as long as they do not forget their own. Modernity and tradition should both be part of the painters’ theoretical reflections. They should not devote themselves to a single style or artistic trend; they should create their own based on subjective reflection and, at the same time, on an objective criticism of reality.