El dibujo y la construcción del arte colonial chileno. Desde Alonso de Ovalle hasta el siglo XIX
The Chilean drawing of the 19th century had, among its many functions, the representation of architectures and colonial heritage, belonging to the previous centuries. Chile, in an attempt to detach itself from its Hispanic past after the independence process, embraced the new currents and languages...
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| Formato: | Online |
| Lenguaje: | spa |
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Instituto de Historia del Arte - Facultad de Filosofía y Letras - Universidad Nacional de Cuyo
2020
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| Acceso en línea: | https://revistas.uncu.edu.ar/ojs3/index.php/cuadernoshistoarte/article/view/2929 |
| Sumario: | The Chilean drawing of the 19th century had, among its many functions, the representation of architectures and colonial heritage, belonging to the previous centuries. Chile, in an attempt to detach itself from its Hispanic past after the independence process, embraced the new currents and languages "‹"‹that came to it from thriving European countries, such as France and Italy, taking distance with the art gestated during the centuries of the Captaincy. This did not mean that newcomers to the territory, such as Mauricio Rugendas, will reject his representation. On the contrary, there are numerous examples in which the Hispanic heritage has a place in his artistic productions. In this article we will address the case of drawing, grammar of all the arts, and the way in which a colonial ideology is built, the artist is exercised by performing it and even serves as a witness to the heritage of a country that, for reasons natural or anthropic, has lost part of it. |
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