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 1948, many years after their relationship ended, Graciela Amador tells of the events of her life with David Alfaro Siqueiros, in this article, the first in a series of four. This first article begins on January 6, 1918, when she met the painter; in August of that same year they married in a civil ceremony. Her well-to-do middle-class family did not look favorably on the marriage; however, the Alfaro family welcomed her as a daughter and sister. In this first chapter she speaks of Siqueiros’ collaboration on the Mexican magazine, Revista de Revistas, standing in for the eminent caricaturist born in Veracruz, Ernesto García Cabral. The country was in the middle of a revolution and various factions were at war with one another: the followers of [Francisco] Villa, [Venustiano} Carranza, [Álvaro] Obregón and [Emiliano] Zapata. One day the painter came home with a sack of money and said he had been named Secretary for the Mexican Consulate in Paris.
As a woman, Graciela Amador was resentful of her breakup with David Alfaro Siqueiros (1896–1974) given that they had pledged fidelity and yet he had repeatedly broken that vow. She confesses to having not recorded her memories until she felt the time had come to write in a way that did justice to the fascinating man, who opened up a fantastic, kaleidoscopic world to her. She fell in love with him for his mind, not his physique. This article is undoubtedly personal and anecdotal. It is of interest because it relates to the myths that would later arise based on her narrative. This biographical series was compiled by Miguel Ángel Echegaray within the article “Gachita Amadora, la fiel y la extraña” [Gachita Amadora, the Strange and the Faithful] for the magazine CURARE, Espacio Crítico para las Artes, no. 20 (July-December 2002), 82-92.