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.
During the inaugural ceremony for Diego Rivera’s mural, La creación [Creation], the poet Manuel Maples Arce described the painter as the prototype of the Estridentista artist who would lead the charge on behalf of the insurrection of the visual arts. Part of that insurrection involved organizing a Salón de Independientes. In his speech, Maples Arce referred to the Academy as the “brothel” of pictorial art.
Several months before issuing the first Estridentista manifesto, Mexico experienced its first burst of mural painting. This outburst introduced the most important and original wave of aesthetic transformation the country had ever known and it enjoyed the open support of the authorities. There was therefore significance in the speech delivered by Manuel Maples Arce (1898–-1981) at the Escuela Nacional Preparatoria’s Anfiteatro Bolívar, in which he suggested that Diego Rivera (1886–-1957) should lead the Estridentista trend as well as the muralist avant-garde. Given the importance of the event, Jean Charlot (1897–-1979) quotes this newspaper article—that appeared in El Universal on March 10, 1923—in his book, El renacimiento del muralismo mexicano 1920-–1925 [The Renaissance of Mexican Mural Painting, 1920–-1925], published in English by Yale University Press (1962).