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.
Here, Fernando Gamboa made some interesting statements about the worldwide significance of Mexican art. Arte Mexicano en París [Mexican Art in Paris], an exhibition of modern and ancient art presented in Paris in 1952, will offer the world Mexico’s “great [art historical] past and a new meaning for art that will be highly useful if we are to develop a universal art. In other words, this art represents a rebirth of figurative art, a New Realism that is an interpretation of a real idea steeped with deep human and social meaning [expressed in] original, new forms.” Gamboa believed there were two modern trends in the art world at that time: the School of Paris and the Mexican School of Painting. There were differences between them in terms of both approach and concepts. He commented that in recent years, European artists have been trying to revise their theories and concepts, which is shown in the great success of Mexican painting at the 25th Venice Biennial (1950).
In this interview, Fernando Gamboa (1908-1990) made statements that were as emphatic as the fact of introducing Mexican painting. In other words, this was a school with a highly important place in the world at large, with theories that were somehow in contention with the formalist theories of the School of Paris. Statements of this kind strengthened social realism as a pictorial style that Gamboa perceived as avant-garde. However, we must bear in mind that during that period after World War II, this trend was the subject of much controversy in the world art milieu. In debates on contemporary art held in Geneva in 1948, there were abundant lines of argument that took a position against ideological art; this disapproval persisted in the second International Art Criticism Conference held in Paris in 1949.