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.
José Bergamín, the writer in exile and critic, compares poetry with painting as in classical times, and uses the language of poetry to discuss the painting of Antonio Rodríguez Luna. Bergamín refers to Rodríguez Luna’s main theme, which reflects his determination to preserve the memory of Spain, the homeland he has lost, and particularly his native province of Andalucía and its star-studded skies. To the writer, looking at these paintings is like touching the sky with his hands. There are also traces of the pictorial traditions of the exiled artist: the still lives of fruit that echo the work of Francisco de Zurbarán, the sense of drama of Francisco de Goya, and the mastery of chiaroscuro of Rembrandt van Rijn.
The author of this article, José Bergamín (1895-1983), also writes poetry, plays, and essays, as is obvious from the carefully crafted text on Antonio Rodríguez Luna (1910-85), the painter from Córdoba. During part of his life in exile, Bergamín’s home was in Mexico where, in 1940, he founded (and named) España Peregrina [Migrant Spain], the first cultural magazine devoted to those living in exile that, two years later, was renamed Cuadernos Americanos [American Notebooks]. The texts and the works are ultimately seeking signs of hope through art, in spite of war and exile, as in the omen seen “in the darkest night of the soul of dawn.” As time went by, Bergamín argued with Diego Rivera about the essays he wrote on José Clemente Orozco and José María Velasco.