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.
This article is about a series of murals produced in Guadalajara in the annex to the ancient Templo de Santo Tomás, which later became a university building. The participants in the workshop were the painters from Jalisco: Jesús Guerrero Galván, León Muñiz, and José Parres Arias. It later also included Alfonso Michel. There is mention that—based on the result of the pictorial experiment,—the project could be extended to decorating the whole campus.
The murals of the "Olimpo House located in the offices annexed to what is at presently known as the Biblioteca Iberoamericana Octavio Paz where, incidentally, the murals by David Alfaro Siqueiros and Amado de la Cueva are located were one of the objectives of the official/local patronage plan. Beginning with the state government of José Guadalupe Zuno (1923-1926), the governors of Jalisco wanted to see the secular transformation of religious instances, and that is what happened with the spaces at the Universidad de Guadalajara. These murals, which were tempera paintings, were kept hidden; instead the murals by David Alfaro Siqueiros are better known to the public. The principal topic of the ensemble of murals was "maternity" perhaps mirroring the frescoes at the School of Agronomy in Chapingo characterized by their pictorial volumens and the fine line of drawings. This article extols the work of the murals in the state of Jalisco, which tried to establish a dialogue with the muralist production of the capital city of the country. Within these tensions between the center and the periphery, these works are a reflection of the regional patronage and the innovative artistic impulse toward new generations of painters from Jalisco.