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.
This short article covers the opinions of the painter Ángel Zárraga on mural painting, given his recent work decorating the bar of the Club de Banqueros at Edificio Guardiola in the historic center of the Mexican capital. This is the first fresco he has executed since his return to Mexico from France in 1941, after living in Europe for almost 40 years. The article describes the four symbolic figures that appear in Zárraga’s composition:Fortuna, Dánae, Abundancia and Miseria [Fortune, Dánae, Plethora and Wretchedness], focusing on the way they are colored. The figures create a contrast with the overall spectrum of the room’s architecture: "The colors are harmonious but bold."
Ángel Zárraga (1886-1946) has just completed the decoration of the Club de Banqueros, located on one of the top floors of the new building in the capital, the Edificio Guardiola. This building, which is an important example of Art Deco architecture, houses the Banco de México. The composition consists of four female nude figures set in an idealized natural environment, accessible to the “cosmopolitan” public that would be visiting the club. According to Monferrer, the least idealized of the images is Abundancia, in which the painter “alludes to . . . our mestizo women,” with the familiar association between the feminine and the “fruits of Mother Earth.” Earlier in the year, on the ground floor of the same building, Jorge González Camarena (1908-80) painted the work La vida [Life], made up of two parts: “male” and “female.” As the titles indicate, these works, also nude, were part of a realistic aesthetic trend that led to more than one adverse criticism. The negative comments by conservatives linked to the Edificio Guardiola cited moral objections to the works. Unlike the Zárraga paintings, created for a private audience, the works by González Camarena were exhibited in a public space, on the upper wall where the main elevators were located.