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, painter and graphic designer Miguel Prieto visits the exhibition of Arturo Souto, with whom he shares the condition of being in exile. He discovers that Souto’s painting has taken elements from Spain’s dark days—visiting the towns, drawing figures that are working the earth, figures bent over a furrow or staring into the great beyond. However, his pictorial descriptions have idealized these people; he has softened them by using a warm light in his village interiors. It is as if Souto were transcending the drama through form and colors. To Prieto—who shares with him the pain of living in exile—the work of the painter highlights his implicit separation from everything that defined his tradition. A person in exile is separated from all the foundations of spirit, character and race that become so necessary for any artist. On the other hand, Prieto acknowledges the genuine nature of Souto’s creation at this historical moment that is “blind as a castaway.”
The artist from La Mancha, Miguel Prieto (1907-56) arrived in Mexico as an exile. In Spain, he had studied painting and sculpture, working on theater projects with both Federico García Lorca and Rafael Alberti. But in Mexico, his most important contributions were in the field of typography and the design of publications, in particular, cultural supplements. He even created a school that reflected the publication design of the period. As the designer of Revista Romance and México en la Cultura (the cultural supplement of the daily newspaper, Novedades), he showed an undeniable affinity for the new trends. In this text, while he makes common cause with Souto regarding their exile, Prieto also sets forth his criticism with regard to this figurative artist.