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.
The author summarizes a lecture given by poet José Gorostiza in which he talks about the “little teachers” of the new school of Mexican painting, as well as the “affinities that are enough, in my opinion, to characterize the work in its totality, not separately, whose merit resides not so much in the individual perfection, but in the awareness of a collective responsibility. In the production of each of them one finds the marks of the risks, concerns, and conquests of modern Western painting.” This pictorial expression “Does not contain any secret, or does it want to communicate anything—unless it is the love for shapes.” Gorostiza rejects, in the same manner “the easy exoticism of the popular arts that aim to acquire a stamp of modernity.”
In his eagerness to clarify what was already beginning to be defined as dissident painting, the poet José Gorostiza (1901-1973) explores the paintings by individual artists in relation to both poetry and music, thus emphasizing visual and formal values. In this other historiographic construction of Mexican painting, the author, originally from Tabasco, underlines the intellectuality of the art reflected in the work by Federico Cantú, Julio Castellanos, Agustín Lazo, Jesús Guerrero Galván, Carlos Mérida, Roberto Montenegro, and Tebo, among others, which, we must not forget, were muralists. Therefore, he expressed an alternate point of view vis-à-vis the hegemony imposed by Diego Rivera and the artistic communities. In Gorostiza’s opinion it was necessary at that moment to identify and categorize the differences among national painters. The poet and diplomat repeated this radio conference in the catalogue of the second exhibition at the Galería de Arte de la Universidad. Also as an art critic, Gorostiza had already written about the work by Emilio Amero, María Izquierdo, and Siqueiros.