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.
Zuno begins his article by pointing out the different “contributions” that tapatíos [Guadalajarans] have made to José Clemente Orozco’s work. In contrast to other tapatíos, Zuno decided to emphasize the different planes of his mural and easel works, while also highlighting specific themes: “His traditional observation of our folk types has lent spiritual depth to the hierarchical form of his figures. . . .” In this sense, Orozco’s work was indicative of an “evolutionary process” and a growing depth in his composition that was synonymous with solidity. Zuno, the former governor of Jalisco, also highlights the technical qualities of his fellow countryman’s work.
The generation that grew up with Bandera de Provincias [Flag of the Provinces] was committed to the theoretical edification of the new Guadalajaran culture, one capable of revealing the differences between the periphery and the center. They likewise were ready to analyze and study the meanings of modernity and the avant-garde. In this defense of José Clemente Orozco, Guadalupe Zuno (1891–1980) emphasized his symbolism and form, characteristics that preceded the different opinions and critiques of the muralism movement from 1936 to 1939. Zuno offered his opinions on Orozco’s work while at the Escuela Nacional Preparatoria, and in some ways he anticipated what would later come to pass. The thoughts, observations, and recommendations of the Guadalajaran intellectuals notably influenced those frescoes.