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.
Signed in September 1914, the short article by Dr. Atl—then director of the Academia de San Carlos—states his opinion about the direction the Academy should take as the Mexican revolution raged around it. “The dilemma I am facing is this: either propose that the Academy be closed or turn it into a workshop capable of producing work, like all the industrial workshops of our era and like all the art workshops in every period in which art has flourished vigorously. . . . My decision is to turn the Academy into a workshop.” Among the proposals to be carried out by the artists under this new approach will be to “close the Teatro Nacional, and promote the Mexican Republic first and foremost, so the schools will provide the children a beautiful place in which they may learn to read.”
The newspaper, La Vanguardia, had a short life, since it was published in Orizaba (Veracruz) only from April 21 to June 11, 1915. The newspaper provided news on the general situation on different fronts with constitutional claims along with international political information. It also offered theater criticism, literary news and ideological articles written by Dr. Atl (1875-1964), who was the publisher and founder of the newspaper. In addition, La Vanguardia placed a high priority on illustrations, outstanding among which were caricatures by José Clemente Orozco (1883-1949). Dr. Atl is considered the main promoter of the postrevolutionary muralist movement and it was from that perspective that he called for closure of the Teatro Nacional (now the Palacio de Bellas Artes). Saturnino Herrán was the artist designing the decorations for the Teatro Nacional at the time. The artists who served under the Mexican President Venustiano Carranza (1917-20) believed that the Revolution required literature and artwork of a combative nature and they considered themselves artist/soldiers.