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.
In this article, art critic Jorge Juan Crespo de la Serna wrote about mural painting and its importance in the evolution of Mexican art. He believed the murals should be intimately connected to the life of the country that produces them given their public and collective nature. The Mexican artists of the time were aware of the social role of art, so that as such the mural became a means of union with the people. In other words, it became the means to re-establish a form of expression that had existed from ancient times to the modern era; thus it was the best language to express the idiosyncrasies and character of the Mexican people.
Crespo de la Serna reflects on the beginnings of the muralist movement in this document. He also states that the murals were characterized by a mythical sense of the revolutionary spirit from the beginning, although they lacked the gist of Mexico. Nevertheless, little by little, artists managed to incorporate the reality of our country by interpreting the traditions, celebrations, and symbols of the Mexican people. Crespo de la Serna believed it was necessary to continue “neo-realist painting with clear Mexican accents, in which one could easily discover the footprints of the past and the teachings of universal art.” In his understanding, mural painting was the transposition of the artist’s values and the sentiment of the Mexican people.