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<oai_dc:dc xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/ http://www.openarchives.org/OAI/2.0/oai_dc.xsd"><identifier>I11-R101article-1467</identifier><datestamp>2020-12-01T14:02:37Z</datestamp>
<dc:title xml:lang="en-US">Painting, Independence and Education. The evolution of Chilean Fine Arts in the 19th century</dc:title>
<dc:title xml:lang="es-ES">Pintura, Independencia y Educación. La evolución de las Bellas Artes chilenas en el siglo XIX </dc:title>
<dc:title xml:lang="pt-BR">Pintura, Independência e Educação. A evolução das Belas Artes chilenas no século XIX</dc:title>
<dc:creator>Cinelli, Noemi</dc:creator>
<dc:subject xml:lang="es-ES">Educación artística</dc:subject>
<dc:subject xml:lang="es-ES">Pintura</dc:subject>
<dc:subject xml:lang="es-ES">Chile</dc:subject>
<dc:subject xml:lang="es-ES">Emancipación</dc:subject>
<dc:subject xml:lang="es-ES">Artistic education</dc:subject>
<dc:subject xml:lang="es-ES">Painting</dc:subject>
<dc:subject xml:lang="es-ES">Emancipation</dc:subject>
<dc:subject xml:lang="es-ES">Educação Artistica</dc:subject>
<dc:subject xml:lang="es-ES">Emancipação.</dc:subject>
<dc:description xml:lang="en-US">The significant evolution of Chilean Fine Arts during the passage from the 18th to the 19th century has its raison d’etre in two factors. The first one was the boost to the systematization of artistic studies in the education of young artists. Since 1796, with the foundation of the Academia de San Luis in Santiago thanks to the erudite Manuel de Salas’ effort, the required forms of academic institution that recognized in drawing the essential discipline in the process of artistic learning, started to be set up. From the 19th century onwards, the National Institute, the Painting Academy and other institutions started focusing artistic studies on Fine Arts rather than with the field of industry and agriculture. The Chilean art painting experienced a change in artistic trends to forms that Antonio Romera in 1969 thoroughly defined as "tropical romanticism", and that from our point of view has the best performer in the French Monvoisin. This consideration takes us straight to the second factor, that is, the presence in Chilean territory of foreign artists. The "travelers" who not only introduced innovative stylistic changes in Chilean painting, but also who accelerated the circulation of artistic treaties, books and engraves that, from Europe, nurtured a real remodeling of the discourse about aesthetic matters and of taste. In the following pages, we are going to demonstrate how these circumstances, coexisted due to a social and politic context which allowed it, favoured a real development of Fine Arts in Chile. Proof of it are the words pronounced by the Italian painter Alessandro Ciccarelli in the Painting Academy inauguration speech. Referring to his educational project to make Chilean Fine Arts more relevant, he applied the refined system that the theorist Winckelmann in 1764 applied to the study of Grecian Art History of the 5th century B.C. The Prussian historian linked certain politic, geographic and climatic conditions to the creation of a positive context for the development of Arts. In Santiago this positive circumstances were developing in that moment, thus Ciccarelli gave to the young country the pleasant nickname of "Athens of South America".</dc:description>
<dc:description xml:lang="es-ES">La apreciable evolución de las Bellas Artes chilenas en el pasaje desde el siglo XVIII al XIX tiene su raison d’etre en dos factores: el primero fue el impulso dado a la sistematización de los estudios artísticos en la formación de los jóvenes artistas. A partir de 1796 con la fundación en Santiago de la Academia de San Luis gracias a los esfuerzos del ilustrado santiaguino Manuel de Salas empezaron a establecerse las necesarias formas de institucionalidad académica que reconocieron en el dibujo la disciplina fundamental en el proceso de aprendizaje artístico.A partir del siglo XIX el Instituto Nacional, la Academia de Pintura y otras instituciones se preocuparon de canalizar los estudios artísticos hacia una perspectiva vinculada más a las Bellas Artes que al ámbito de la industria y de la agricultura.La pintura chilena experimentó entonces un cambio de tendencias artísticas que la dirigirán hacia formas que en 1969 Antonio Romera definió felizmente de un "romanticismo tropical", y que en nuestra opinión tienen en el francés Monvoisin su mejor interprete. Esta consideración nos lleva directamente al segundo factor, eso es, la presencia en suelo chileno de artistas extranjeros, los "viajeros" que además de introducir cambios estilísticos innovadores en el panorama de la pintura chilena, agilizaron la circulación de tratados de arte, libros y estampas que desde Europa alimentó una verdadera reforma del discurso entorno a cuestiones estéticas y de gusto.En las siguientes páginas demostraremos como estas circunstancias dialogando entre sí gracias a un contexto social y sobre todo político que lo permitió, favorecieron un verdadero florecimiento de las Bellas Artes en Chile. Prueba de ello fueron las palabras pronunciadas en 1849 por el pintor italiano Alessandro Ciccarelli en ocasión del discurso inicial para la inauguración de la citada Academia de Pintura. Refiriéndose a su proyecto educativo para levantar las condición de las Bellas Artes chilenas, aplica el exquisito sistema que el teórico Winckelmann en 1764 había aplicado al estudio de la Historia del Arte de la Grecia del V siglo a. C. . El prusiano vinculaba determinadas condiciones políticas, geográficas y climáticas con la creación de un contexto favorable al florecimiento de las Artes. En Santiago todas las circunstancias se estaban dando en aquella época, así que Ciccarelli puso al joven Páis el lisonjero apodo de "Atenas de Suramérica".</dc:description>
<dc:description xml:lang="pt-BR">O prusiano vinculava determinadas condições políticas, geográficas e climáticas com a criação de um contexto favorável ao florescimento das Artes. Em Santiago todas as circunstâncias se estavam dando naquela época, assim que Ciccarelli pôs ao jovem Páis o lisongeiro apelido de "Atenas de América do Sul".A apreciável evolução das Belas Artes chilenas na passagem desde o século XVIII ao XIX tem seu raison d’etre em dois fatores: o primeiro foi o impulso dado à sistematização dos estudos artísticos na formação dos jovens artistas. A partir de 1796 com a fundação em Santiago da Academia de San Luis graças aos esforços do ilustrado santiaguino Manuel de Salas começaram a se estabelecer as necessárias formas de institucionalização acadêmica que reconheceram no desenho a disciplina fundamental no processo de aprendizagem artística.A partir do século XIX o Instituto Nacional, a Academia de Pintura e outras instituições preocuparam-se de canalizar os estudos artísticos orientados a uma perspectiva vinculada mais às Belas Artes que ao âmbito da indústria e da agricultura.A pintura chilena experimentou então um câmbio de tendências artísticas que a dirigirão até formas que em 1969 Antonio Romera definiu felizmente de um "romancismo tropical", e que em nossa opinião têm no francês Monvoisin seu melhor intérprete.Esta consideração nos leva diretamente ao segundo fator, isso é, a presença no solo chileno de artistas estrangeiros, os "viageiros" que além de introduzir câmbios estilísticos inovadores no panorama da pintura chilena, agilizam a circulação de tratados de arte, livros e estampas que desde Europa alimentou uma verdadeira reforma do discurso por volta de questões estéticas e de gosto.Nas seguintes páginas demonstraremos como estas circunstâncias dialogando entre si graças a um contexto social e sobre tudo político que o permitiu, favoreceram um verdadeiro florescimento das Belas Artes no Chile.Prova disso foram as palavras pronunciadas em 1849 pelo pintor italiano Alessandro Ciccarelli em ocasião do discurso inicial para a inauguração da nomeada Academia de Pintura. Referindo-se a seu projeto educativo para levantar as condições das Belas Artes chilenas, aplica o magnífico sistema que o teórico Winckelmann em 1764 tinha aplicado ao estudo da História da Arte da Grécia do V século a.C.</dc:description>
<dc:publisher xml:lang="es-ES">Comité Editor IHA - Instituto de Historia del Arte - Facultad de Filosofía y Letras - Universidad Nacional de Cuyo</dc:publisher>
<dc:date>2018-12-16</dc:date>
<dc:type>info:eu-repo/semantics/article</dc:type>
<dc:type>info:eu-repo/semantics/publishedVersion</dc:type>
<dc:type xml:lang="es-ES">Artículo evaluado por pares doble ciego.</dc:type>
<dc:format>application/pdf</dc:format>
<dc:identifier>https://revistas.uncu.edu.ar/ojs3/index.php/cuadernoshistoarte/article/view/1467</dc:identifier>
<dc:source xml:lang="en-US">Art History Notebooks; No. 29 (2017); 43-78</dc:source>
<dc:source xml:lang="es-ES">CUADERNOS DE HISTORIA DEL ARTE; Núm. 29 (2017); 43-78</dc:source>
<dc:source>2618-5555</dc:source>
<dc:source>0070-1688</dc:source>
<dc:language>spa</dc:language>
<dc:relation>https://revistas.uncu.edu.ar/ojs3/index.php/cuadernoshistoarte/article/view/1467/995</dc:relation>
<dc:rights xml:lang="es-ES">Derechos de autor 2018 Cuadernos de Historia del Arte</dc:rights>
</oai_dc:dc>
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"title": "Painting, Independence and Education. The evolution of Chilean Fine Arts in the 19th century",
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