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 the course of an interview, Rufino Tamayo talks about the polemic that arose regarding his mural at the Conservatorio Nacional with the topics of song and music. Tamayo took advantage of this forum to disqualify the students of the “little school” as he complains about the uncomfortable position to do his work. There are reproductions of images of the damaged murals painted by Rivera and Tamayo.
In view of the negative attitude by the students due to their lack of appreciation for the mural work by Rufino Tamayo (1899-1991), the painter from Oaxaca decided to take advantage of the press in order to express his point of view and, above all else, to defend his painting. The author of this article also refers to the damaged murals by José Clemente Orozco (1883-1949) and David Alfaro Siqueiros (1896-1974) at the Escuela Nacional Preparatoria, and in a certain way Tamayo used these examples in order to place himself at the same level as “the three big ones” (Rivera, Orozco, and Siqueiros) who, at the high levels or power, were already recognized as muralists. We must recall that Tamayo was very persistent in this commission of his first mural work; which also had its defenders, the same who accused the student body of being misinformed, alleging that they were unable to understand modern painting.