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.
Juan Larrea wrote these words while looking at the panel shown by Joan Miró, the famous Spanish painter, in his country’s pavilion at the International Exhibition in Paris in 1937, during the Spanish Civil War. Though it is a product of the turmoil of the war, Larrea attempts to stress the painting’s energy and optimism. Writing in France, the author describes the “Apocalypse” in his country—the end of a particular Spain—and claims to see in Miró’s painting the seed of a new world living in peace. He remarks on the Catalan painter’s ability to simultaneously express both a clear image of Spain’s current reality and a sense of joy in the years ahead. Larrea discusses how Miró manages to capture the transition from the old land to the new.
Juan Larrea, a Basque writer and poet, was born in Bilbao and lived in exile in Mexico (1895-1980). He was one of the founders of the magazine España Peregrina [Migrant Spain], together with José Bergamín and José Carner. Although this article has no direct bearing on Spaniards living in exile in Mexico, it is important because it was published in that country, thus reaffirming the path to abstraction. On the other hand, and on the subject of Spanish artists living in exile in Mexico, the article contains an important reference to the pavilion at the International Exhibition in Paris in 1937, which was an unprecedented opportunity to restate the cause of the Spanish Second Republic. That is where Pablo Picasso’s Guernica was first shown to the world, becoming an instant symbol of the time and, subsequently, one of the most significant paintings of the twentieth century. Four decades later, in 1977, Larrea wrote about Guernica.