La educación artística en chile

Un paradigma clásico en su origen

Abstract

After the Independence of Chile in 1810, painting underwent a slow but progressive development. An important antecedent is found in the presence in the country of the so-called “foreign precursors”, who made up an strong artistic movement, which provided the basis for the subsequent development of the activity. The creation, in 1849, of the Academia de la Pintura was a major step in this development, since it allowed for the education of artists within the country and also opened up new possibilities for public and private collections, exhibitions and the development of the criticism of art. With the foundation of the academy and the teaching provided by its first European directors, a neo-classical aesthetic paradigm similar to those of the French and Italian academies of the period was imposed on the country, with aesthetic and symbolic codes impregnating all artistic activity until well into the twentieth century. This classical model was questioned by the painters known as the 1913 Generation (Generación de 1913) and then abandoned by the aesthetic precepts of the Montparnasse group who projected the theories of Cézanne and the whole Post Impressionist school in Chile. Two different aesthetic sensitivities, the classical and the modern, then faced each other head on. Two different models in Chile with a common denominator: a strong Parisian influence.