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Academy of Painting (Spanish: Academia de Pintura), also known as the School of Fine Arts of Santiago (Spanish: Escuela de Bellas Artesde Santiago), was a Chilean art school, founded on March 17, 1849 in Santiago, Chile.[1][2][3] Initially located in a building of the University of San Felipe, now the site of the Municipal Theater of Santiago, it underwent relocation in 1891 and adopted the name Escuela de Bellas Artes. In 1910, the institution merged with the Museo de Bellas Artes, effectively discontinuing its operations as a separate entity.[4][5] In 1932, it merged with and is now known as the Department of Visual Arts within the Arts Faculty, University of Chile.
The creation of the Academy of Painting was part of the educational plan of President Manuel Bulnes.[6] These initiatives were part of broader efforts to educate Chilean youth in diverse fields of intellectual activity, resulting in the establishment of primary schools, teacher training programs, high schools, and the University of Chile.
The promotion of various artistic disciplines continued with the founding of the School of Arts and Crafts (1849), the Conservatory of Music (1850), the introduction of architecture classes under the supervision of French architect François Brunet de Baines (1849), and the establishment of ornamentation and sculpture classes (1854) under the direction of Auguste François.
The academy was originally located in the building belonging to the San Felipe University, in what is today the Municipal Theatre of Santiago. Various changes led the academy to merge with the Chilean National Museum of Fine Arts (Spanish: Museo Nacional de Bellas Artes) in 1910, and then later to hand its administration over to the University of Chile in 1932.[6]
The academy was relocated in 1891 to a new facility on Maturana Street—between Rosas and San Pablo—and renamed the “Escuela de Bellas Artes.” In 1910, it was transferred once again to a new building in the Forest Park, adjacent to the newly established Museo de Bellas Artes.[7]
In La pintura en Chile. Desde la colonia hasta 1981, authors Gaspar Galaz and Milan Ivelic note:
The founding of the Academy of Painting was an event of great importance, marking a milestone in the history of Chilean painting. Its creation allowed artistic activity to become systematic and continuous, leading to greater complexity in the study and understanding of national painting.[8]
During this period, the academy sought a unified style in Chile, reflecting the neoclassical preferences of Ciccarelli. In Europe, academies set uniform standards and guidelines to maintain what was considered “true art.” This approach was adapted to the Chilean context, drawing on French methodologies.
Initially, the academy offered three main areas of instruction: head and limb studies, whole-figure drawing, and sculpture. The final stage included working with live models, drawing clothing from life, and studying anatomy. Over time, the curriculum and teaching staff expanded to accommodate the growing student body following the academy’s merger with the facilities of the National Institute.
The Academy of Painting produced some of Chile's first national artists. Despite the significance of the academy, some art historians criticized the early period (1849 to 1915) as one of the dullest in the history of Chilean art and have based their criticism on first Director Alejandro Ciccarelli's attempt to copy the European model of teaching art.[5]
The academy's early Directors were Europeans, the Neapolitan artist Alejandro Ciccarelli;[12] the German artist Ernst Kirchbach;[12] and the Florentine Giovanni "Juan" Mochi.[6] The first Chilean to hold the Director position was Cosme San Martín.[13]
The Arts Faculty, University of Chile, is an academic discipline within at the University of Chile, which is located in the capital city of Santiago. Within the Arts Faculty the following departments are represented: visual arts, dance, music, sound, theatre, and arts theory; which occupy three buildings on campus.
Pedro Francisco Lira Rencoret was a Chilean painter and art critic, who organized exhibitions that led to the establishment of the Chilean National Museum of Fine Arts. He is best known for his eclectic portraits of women.
Manuel Antonio Caro Olavarría was a Chilean painter and is classed among Chile's best-loved artists. The son of Victorino Caro y Cárcamo and Asunción de Olavarría y Sierpe, he was named Caro Olavarría. The first Chilean student to attend the École des Beaux-Arts in Paris, Caro's body of work included portraits and scenes of everyday life, and earned him high honors and international recognition.
Chilean art refers to all kinds of visual art developed in Chile, or by Chileans, from the arrival of the Spanish conquerors to the modern day. It also includes the native pre-Columbian pictorial expression on modern Chilean territory.
Alfredo Valenzuela Puelma, was one of Chile's best-known painters and one of the four artists known as the Great Chilean Masters.
Alberto Valenzuela Llanos, was a Chilean painter. He is among the Chile's greatest painters and one of the four Great Chilean Masters, along with Pedro Lira, Alfredo Valenzuela Puelma and Juan Francisco González. He was a landscape painter and left an estimated 1,000 paintings. Highlights of his work include paintings of the snow-topped mountains in France and views of Paris.
Samy Mauricio Benmayor Benmayor is a Chilean painter who formed part of the Generation of '80 movement.
Generación del 13 was Chile's first painter collective. Its name derives from the year 1913, after a joint exhibition was held at the Salon of the Chilean newspaper El Mercurio in the preceding year. The group and its work are characterized by a fascination with Creole art and customs, social criticism, and portrayal of the proletariat, a subject that hitherto was not depicted in Chilean art.
Agustín Abarca was a Chilean painter. He was a member of the Generación del 13. Abarca went to the Liceo de Hombres and the Instituto Comercial in Talca before being introduced to painting by Pablo Burchard. From 1904 to 1907 he studied at the Universidad Católica under Pedro Lira and Alberto Valenzuela Llanos.
Miguel Antonio Smith Irisarri was a Chilean landscape painter, engraver, caricaturist and art teacher.
Onofre Jarpa Labra was a Chilean landscape painter in the Romantic style, and an essayist on various artistic topics.
Cosme San Martín Lagunas was a Chilean painter and the first Chilean-born Director of the Academy of Painting.
Juan Mochi or, in Italian, Giovanni Mochi was an Italian painter who spent sixteen years as a Professor in Chile and influenced the artists who came to be known as the Great Chilean Masters.
Enrique Lynch del Solar was a painter of portraits, and ocean landscapes, a pioneer of the Chilean Modernist art movement. He studied painting in Paris, France at the École des Beaux-Arts with Diogène Maillart. Upon his return to Chile, he became Director of the Chilean National Museum of Fine Arts "Museo de Bellas Artes en Parque Forestal".
Aurora Mira Mena (1863–1939) was a Chilean painter. Together with her elder sister Magdalena, she was one of the earliest recognized female painters not only in Chile but in the whole of Latin America. She was also one of the first women to graduate from the Santiago School of Painting.
Magdalena Mira Mena (1859–1930) was a Chilean painter and sculptor. Together with her younger sister Aurora, she was one of the earliest recognized female painters not only in Chile but in the whole of Latin America. She was also one of the earliest women to study art at the Santiago School of Painting.
Alejandro Ciccarelli Manzoni, originally Alessandro Ciccarelli was an Italian-born Chilean painter and educator. He was the first Director of the Academy of Painting in Santiago, Chile.
José Miguel Blanco Gavilán was a Chilean sculptor, illustrator and writer.
Ernst Sigismund Kirchbach, or Ernesto Kirchbach was a German history and portrait painter, who served as Director of the Academy of Painting.
Dora Puelma Francino de Fuenzalida was a Chilean painter, sculptor and writer who belonged to the Generación del 13. Her work was characterized by "fidelidad a la tradición pictórica del paisaje y las técnicas de la representación que siempre defendió por sobre las tendencias abstractas que se impusieron en su época", which is why her work was included within Chilean pictorial naturalism that she approached mainly through the use of oil and watercolor techniques.
1 2 Ripamonti Montt, Valentina (2010). "Academia de Pintura en Chile: Anhelo de Cambio y Tradición Republicana". Intus-Legere Historia. 4 (1): 127–156.
1 2 3 "Academia de Pintura (1849-)". Memoria Chilena: Portal (in Spanish). Memoria Chilena, Biblioteca Nacional de Chile (National Heritage Service). Retrieved 2022-06-30.
↑ Ramírez, Verónica; Romo, Manuel; Ulloa, Carla (2017). Antología Crítica de Mujeres en la Prensa Chilena del Siglo XIX[Critical Anthology of Women in the Chilean Press 19th century] (in Spanish). Ñuñoa. ISBN978-9562609821.
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