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.
Diego Rivera writes a biography of Mardonio Magaña, who arrived in Mexico City at age 52. Magaña started to carve wood and stone while he worked as a waiter at La Casa del Artista, a branch establishment, part of the Escuela Nacional de Bellas Artes. Rivera’s opinion is that from the moment he started to carve, Magaña was considered the first sculptor of his time, thus preserving the lineage of visual art tradition of the ancestral Valley of Anáhuac (Mexico City). The conclusion is that the Mexican peasant in the fields of that time will be ever present through Magaña’s work.
In 1948, when Diego Rivera (1886-1957) wrote this, it is a somewhat belated reference to keep identifying the Mexican movement as the “Mexican Renaissance.” The characteristics of the so-called popular art were reevaluated, and became part of an aesthetic of what was Mexican, whose essence is found in the artworks by Mardonio Magaña (1868-1947). The article fits within the context of remembrance of the time when what was popular became a source of inspiration for Mexican art. The first exhibition of Magaña’s production was held in 1933.
The first article written by Diego Rivera about Mardonio Magaña was published in the magazine Mexican Folkways in 1930.