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It is still very little what we know about
painters in the colonial time,
but even this way, a
good expert of the matter like Adolfo Luis Rivera has
written "Slowly
draws the veil that hid the true physiognomy of
colonial Buenos Aires, and
a new appreciation of the past,
agreed with
the reality is arising."
The old Buenos Aires,
was a sad and poor village of The Pampas, orphaned of all
artistic manifestation, fruit of the ignorance or contempt
(of the past, it gives step to another Buenos Aires
in which the artists and artisans had space , native and
foreign, that ornamented with their works the temples and
chapels, the public buildings and the private residences.
It is not believed that we seek to affirm to Buenos Aires like artistic
center . Far we are of it, but we want to notice that our
city had an artistic, limited activity if one wants but not
worthless, only known partly and very superficially, and of
the one that give exact bill the relatively high number with
regard to their population, of carvers and sculptors, of
painters and silversmiths. Of these last ones in 1778 there
were around 50 of those which the half were creole
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Alegoría.
Cuzco Siglo XVII |
The painting, although it didn't reach the splendor that
made of Cuzco, Potosí or Quito centers of the pictorial
South American art, had distinguished farmers that took
to their canvases the restlessness of an incipient
society.
The Spanish “Ausell” and “Salas” are there,
Italians “Camponesqui” and “De Petris”, diverse
spirits, of distinction and tuned likes those some and
of vigorous force the other ones , that they guide the
painting Buenos Aires eighteen years, from the great
composition square until the beautifully significant
miniature.
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San
Juanito. Oil of Nicolás Cruz. National Museum of Art.
The Peace. Bolivia |
It
was concern of the Europeans of the XVIII centuries the
artisan's education, being considered to the teaching of
the drawing like important factor in the manual worker's
preparation. Such a restlessness was reflected in America,
where the authorities paid special attention of this
aspect of the qualification.
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It was Lázaro of Rivera, governor of Mojos from 1783, one of the
illuminated and innovative that there were in these parts of
America in such a sense.
To
little of being had fact position of the government, he
already referred to the ability of the natural ones in the
painting and the music, and he wrote “In
these two noble arts not only exceed the Indian moxos to
the natural of the whole Peru , but also to the Spaniards
that exercise them in this Kingdom."
The father Francisco Javier Eder
coincides with this statement ,a Jesuit who was residing
in Mojos that writes "In the painting they are not
less skillful provided that some European teacher guides
them with his example." With their eyes fixed in such
aptitudes, Rivera impelled the artistic education creating
stable schools
Finished his government, Rivera took
with him to Spain two books with paintings of Mojos like
sample of the achieved progresses. It was about
watercolors with local motives, reproductions that were
faithful reflections of an academic formation.
The successive governors were about maintaining the
operation of the art schools that Riveras created and of
supplying them of the necessary things to work . Nevertheless in occasions the teaching was interrupted,
because the pencils for drawing and most of the fine
color they used should be importated from Europe. In
this way the drawing schools continued multiplying until
ending up existing one in each town.
In “Chiquitos”
the artistic development was parallel to the
Mojos according to a report in which
the governor Miguel Fermín of Riglos affirm. “The
altarpieces were of beautiful construction and with
Roman big sphinxes that I have not seen them better in
any part, and the annexed schools to the churches had
colored all the walls with several and different
ideas."
«It will continue»
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The
Visitation. Oil Cuzqueño XVIII Century |
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