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, painter María Izquierdo again decides to express her viewpoint without the use of intermediaries. She had done so one month before and here she again declares her disapproval of the monopoly created by the Comisión Nacional de Pintura Mural [National Commission of Mural Painting]. On this occasion she confronted Rivera, Orozco, Siqueiros, and also Tamayo. In her judgment, Tamayo was merely copying European styles and was only interested in selling works. She accused the “Three Great Ones” of having formed a monopoly and dictatorship. She believed that simple accusations among colleagues were not enough, rather a severe critical revision of Mexican art was necessary.
This document reflects the state of mind of some painters who had not been accepted into the “select” circle of artists. María Izquierdo (1902-55) was the object of an unfair decision that had denied her the opportunity to paint a mural. On this occasion, she confronted not only the “Three Great Ones,” but also Rufino Tamayo (1899-1991), who years before had been her teacher and with whom she had had an intimate relationship. Now she was accusing him of selling out to the École de Paris [School of Paris] and of being a painter who was not honest at all.