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 the Spanish writer José Bergamín analyzes the mural, La Piedad [Mercy] that Manuel Rodríguez Lozano painted at the Lecumberri prison in Mexico City. He finds aspects of Lozano’s work within the Hispanic heritage adopted by Mexicans: those of “its best spiritual riches, those of its poetic art and its religious faith.” The author analyzes the work from a subjective perspective that distinguishes Rodríguez Lozano from the rest of the “revolutionary painters” motivated by political concerns.
José Bergamín (1895-1983), a poet and short-story writer from Madrid, reviews the work that Manuel Rodríguez Lozano (1896-1972) painted at the penitentiary. While he was director of the Escuela Nacional de Artes Plásticas, Rodríguez Lozano was convicted of stealing some engravings from the institution, for which he spent several months in jail. The painter’s composition could be considered part of what today is known as “contracorriente” [cross current]; that is, an aesthetic alternative to the official nationalism. The latter sought Mexican identity through an inquiry into the la esencia de lo local [local gist]. The use of cool colors, as well as the style and drama of its subjects, place it within what is known as Rodríguez Lozano’s “época blanca” [white period]. Two years earlier, the Spanish writer had published a monograph analyzing the artist’s work.