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 Vicario Román, virtually unknown as a painter, was a native of the state of Morelos. In order to receive the commission for his mural painting he had to pass through “the tortuous paths of criticism.” The author believed that Vicario Román’s work served the masses. He lists the pictorial merits of his work, which were directly related to the narrative of the agrarian reform movement in Mexico.
One of the steadfast features of the post-revolutionary regimes was the expropriation of buildings that were later converted into confederations or unions. The “Emiliano Zapata” auditorium, later called the Casa del Pueblo o del Agrarista [House of the People or the Agrarian Reformer] was no exception and mural painting in the few remaining images of this building can be noted. Mural painting contributed to the goals of the Lázaro Cárdenas regime (1934–40) regarding land distribution and the rights of the rural populace. Following the narrative structure of historical painting, while at the same time reinterpreting the murals painted by Diego Rivera at the Palacio Nacional, Vicario Román portrayed national agrarian reform beginning with the pre-Hispanic era, the viceroyalty, the struggle for independence, the Reform, the Porfirio Díaz regime, and the revolution. The artist highlighted the portraits of the national heroes who were always painted among the rural workers. The article’s author, Raúl Ortiz Ávila, an editorial contributor to El Nacional, was head of the arts section for about a year, following Fernando Leal and Luis Cardoza y Aragón.