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 1948, many years after her romantic involvement with David Alfaro Siqueiros, Graciela Amador wrote a memoir in four parts about her life with him. In this third part she describes how their trip to Europe came to an end when Siqueiros went to the Mexican Consulate in Paris and received an invitation from Secretary of Public Education, José Vasconcelos, to come home and paint in Mexico City, just at the time when Diego Rivera was finishing his painting of La Creación [The Creation] on the walls of the Escuela Nacional Preparatoria. She writes that she was sad to return to Mexico because “David” left her locked up all day in his house in the Roma neighborhood. He would leave early, and spend the morning talking to all the young painters and the minister of the SEP. He came home for lunch and then left again. “Gachita” says that she enjoyed a good relationship with her father-in-law and with Pedro Piñó Sandoval, a boy who lived with them for a while. She adds that the pictorial movement that was developing at that time was the Renaissance of that period and represented the avant-garde expression of the Americas.
Reading between the lines of this lengthy article written by a woman who had been left by the artist, David Alfaro Siqueiros (1896-1974), we can extract several facts. In the first paragraph, with little explanation or background, she mentions that what painters most desire is to sell their work. We assume that this is what the couple talked about once she was no longer part of the group of artists involved. Graciela Amador (“Gachita”) devotes most of the narrative to her family relationship with her father-in-law and with a little boy who lived with them for a few years. In 1948 she is still using terms that were in use at the beginning of the movement, i.e., the Mexican Renaissance. Moreover, Amador also writes about what, by then, had already been covered in a number of books about the movement. These documents were collected by Miguel Ángel Echegaray and published in the article titled “Gachita Amador, la fiel y la extraña” [“Gachita” Amador, Loyal and Strange] in the magazine CURARE, Espacio Crítico para las Artes [CURARE, A Critical Space for the Arts], no. 20, (July-December 2002): 102-10.