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, Damián Bayón analyzes the work of Argentine painter Ramón Gómez Cornet. He states that coming to a just “judgment” of the work will be difficult because he is one of “those [artists] who goes directly to the sensibility of the spectator.” He believes that “his human content, his themes” are “what is unassailable about his work,” not his formal characteristics or traits. Bayón praises his drawing, the “indispensable framework” of this artist’s painting. Nevertheless, he criticizes his composition and use of color (given that he applies it like “a lighting technician”). The article concludes by stating: “all objections . . . amount to one: an inadequacy of methods for the expression of mood.” Lastly Bayón analyzes the stage of his production that is believed to be his best and compares it to his present work.
Damián Carlos Bayón (1915–1995) was an art critic, teacher and author of numerous books. He held a PhD in history and was a disciple of Jorge Romero Brest; in 1948, he became one of the founders of the magazine Ver y estimar [Look and Consider], for which Brest served as editor. The following year, Bayón moved to Paris, and continued to collaborate on the magazine until 1955 (the final year of its publication). He then began working with theoretician Pierre Francastel. In the next two decades, he became professor in the University of Texas at Austin. Ver y estimar had two publication eras: the first encompassed its first thirty-four issues, published between 1948 and 1953; the second stage, between 1954 and 1955, consisted of ten issues. This publication was meant to be educational with regard to art criticism, for its readers and for the students of Romero Brest that collaborated on the magazine. Its articles dealt with artists, exhibitions and problems within the local milieu and international scene contexts, as well as with different historical periods. This article permits insight into the critical method that Bayón used to analyze the work of a given artist; in this case, Ramón Gómez Cornet (1898-1964), also known as “the harbinger of modern painting in Argentina.”