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.
Luis Lara Pardo, who was close to Ángel Zárraga, comments about a fresco called Playa [Beach] that Zárraga created at the beginning of the 1930s in Paris, Said fresco was on loan for the International Fine Arts Exhibition in Baltimore. The author briefly describes the painting, emphasizing its characteristics as a mural that could be dismantled and which, due to its large size, could not be presented at the Salon d’automne [Autumn Salon]. In conversations with Zárraga, he considers that the art of painting is resuming “its old classical role of being intimately linked to architecture.” At the same time, Lara Pardo likens the visual qualities of this painting with the murals at the Mexican Embassy in Paris, which were also the work of Zárraga six years earlier. The author’s conclusion is that it shows that the painter has good command of the fresco technique.
The painter from Durango (Mexico), Ángel Zárraga (1886-1946), who resided most his life in Paris, had a proposal and a different reading of what was then known as Mexican muralism. He kept his distance regarding the topics and some procedures established in hegemonic manner by Diego Rivera (1886-1957), even though there was a meeting of minds between them in reference to the artistic interests (cubism) during the stay in Europe by the artist from Guanajuato, Rivera. For the author, a journalist settled in Paris and one of the most loyal of Zárraga’s defenders, the mural was a mixture of the bathers who thematically interested the painter so much, as well as the modernist allegories related to women, and also to the sea. With a classical sense of muralism, Zárraga allowed a glimpse into a visualization of a return to order, retour à l´ordre, which was paradigmatic of the more conservative European avant-garde on its return to traditional painting.