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 this essay, the former governor of Jalisco, José Guadalupe Zuno, discusses government support of painting, stressing its modern style. He uses the opportunity to talk about Diego Rivera, emphasizing his cultural work rather than his artistic contributions. He predictably thinks that José Clemente Orozco’s work is better because he considers him to be “a real revolutionary, with no cubist patchwork, completely original . . . Very Mexican. Very modern. Very typical of Jalisco.”
José Guadalupe Zuno was governor of the state of Jalisco during the administration of General Álvaro Obregón (1920–24), then founded the Universidad de Guadalajara in 1925, and also became an artist and a critic. He produced some excellent essays on José Clemente Orozco (1883–1949), the art of Jalisco, and the art of caricature. This article reveals the trend at Bandera de Provincias, expressing great enthusiasm for “modern” art, as mural painting was called at that time. Zuno greatly mistrusted Diego Rivera (1886–1957) because all official commissions had gone to the man from Guanajuato, instead of Orozco who was sponsored by the government of Jalisco until 1935. According to recent reports from the researcher Renato González Mello, the cultural community in Guadalajara had a lot to do with that commission. The images that Zuno chose to illustrate his essay were the murals painted by Amado de la Cueva—portraying Hernán Cortés and Nuño de Guzmán—for the Palacio de Gobierno in Guadalajara, which have since disappeared.