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.
For the writer Gastón Poulain, the “revolutionary” nature of José Clemente Orozco’s work had different nuances. He considers that in his œuvre there is neither “automatic register nor sensitive perception.” Poulain sees Orozco’s work as essentially alive and, at the same time, painful, since his drawings are direct and “produce the same emotions as instantaneous photographs . . .”. In and of themselves, for Poulain, Orozco’s paintings are original and beautiful when considered from the point of view of technical as well as intellectual perception.
The French Gaston Poulain was one of the guest writers especially invited to collaborate on the revista jalisciense [Jalisco magazine], a fact that was also important for achieving international projection, particularly in the special issue dedicated to José Clemente Orozco (1883-1949). The author especially visualizes the formal rather than the aesthetic aspects of Orozco’s paintings, again omitting a popular perception. What particularly caught his attention was the chromatic symbolism that was determined thematically. He also applauded his caricatures—surely influenced by Zuno—however, what was special about Orozco for the French critic was his condition of “witness” of the armed movement. This idea, as we know, was utilized in order to legitimize Orozco’s role and performance, among others, as “revolutionary” painters.