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 events from her life with David Alfaro Siqueiros in this article. This second article (of four) describes the trip they took to Paris via New York; she relates nine days of adventure as they traveled by boat, arriving in Cadiz and the continuation of their travels by coastal boat to Barcelona. There they lived in the country, where Siqueiros dedicated himself to drafting for hours. The Mexican painter detested the Catalan painter Rosignol and he wanted to get to know Hermenegild Anglada Camarassa; a visit to his studio increased Siqueiros desire to go to Paris. They arrived in Paris in 1919 where they became friends with Diego Rivera and Angelina Beloff. The art milieu had everything: pointillists, dadaists, surrealists, futurists, Estridentistas and academics. She tells of their visit to the Louvre and the discussion they had regarding Paul Cézanne’s painting The Cardplayers.
These are the writings of a woman who dedicated her life to live with the artist. The narrative is full of tales of her suffering and the jealousy that David Alfaro Siqueiros (1896–1974) felt about other men talking to her. Graciela Amador (Gachita) sees herself as a silent witness; that is, she was not allowed to speak during the artists’ conversations. This text, written in 1948, reveals her ongoing confusion regarding the artistic movements of the time; for instance Gachita states she saw something in 1919 that did not yet exist. Nevertheless, this series of articles 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), 93-102.