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 critic airs his views on Leonora Carrington’s work on the occasion of her retrospective at the Palacio de Bellas Artes Museum. According to Palencia, at this point in Carrington’s career her œuvre is widely acknowledged and acclaimed; he also mentions that the painter gradually managed to distance herself from Max Ernst’s influence and go on to develop a style and content of her own, though never straying far from the dreamlike themes that are the main source of Surrealism. Being a woman, Carrington’s work is less violent when she shows certain forms that never existed; her painting is more lyrical. Palencia also speaks highly of the poetic side of her work which, according to him, is faithfully expressed in her painting.
Ten years after her first solo show in Mexico. Leonora Carrington (1917) held a retrospective at the most important cultural space in Mexico, a place that would not be available to many Mexican artists for several years to come. She was undoubtedly already part of the Mexican artistic milieu, as one of the European intellectuals who came to Mexico after the armed conflicts of the mid-20th century. All that notwithstanding, one could wonder how immersed she and her art actually were in the general development of Mexican art. Especially since the roots of her plastic language barely shifted and her work was always in pace with trends that first drew breath in national art circles.