Peruvian Art nineteenth

Peruvian Art nineteenth century development of the academies in Latin America began in Mexico with the Royal Academy of San Carlos founded in 1785, which endured the political problems of the time did not permit its continuation. After Mexican independence was marked by direct control over her the Academy of San Fernando in Madrid, in terms of painting and architecture projects his goal was to establish the “neoclassical taste”, erasing all traces of the old regime. Similarly, in the rest of Latin America, are gradually forming Academies were introduced by the republican government, since the monarchy considered a mistake the founding of San Carlos in Mexico. Neo-classical taste and then imported European Romanticism, were those that prevailed in teaching Latin American art academies until the mid-nineteenth century.From there came a search for national identity through themes of rural and urban landscapes, genre scenes that reflected the daily lives of the various social classes, creating in the late nineteenth century historical themes. In Peru after independence movement (until 1821) created a climate of political and economic instability. During those years the Republican image replaced the symbols of Spanish, though based in inherited forms of the colony. So perhaps the most highly developed art form was the portrait. “Where there were once featured a portrait of the king of Spain, now hung from Sim n Bol var and Jos de San Mart n”. In the early decades of the nineteenth century, the painting stands republican after painting viceroys courtiers and there is a nationalist, which represents general and liberators.The most representative artists in Lima society are Jos Gil de Castro, Pablo Rojas and Pedro Diaz that mark the final transition between the Rococo and Neoclassicism These three painters lived a time of transition between the baroque and neoclassic style which see reflected in his work. This taste yet checkered floors, architectural backgrounds, exaggerated drapes, religious motives, then displaced by the civil historically and clearly reflect the preference for the baroque. But this style, is gradually losing importance, more apparent at the time of portraying their characters in a neutral background and leaving idealization, bringing on a greater realism, without by so doing diminish the importance and magnitude of the sitter. POPULAR ART PERU The Peruvian handicrafts are among the most diverse in the world, as evidenced by the extensive network of exporters who every year sets out the ingenuity of the Peruvians in European markets, Asian and American.The diversity, color, creativity and multiple functions make it a fundamental activity not just for the configuration of Peruvian identity but also for the survival of thousands of families and even whole villages, such as Sarhua and Quinoa in Ayacucho. Small and large pieces that cause the admiration of friends and strangers, containing centuries of history filled with pre-Hispanic forms and symbols that merge and coexist with others brought by the Spanish. That identity is multiple and complex, perhaps paradoxically, one of the reasons for the marked tendency of the modern Peruvian handicrafts “naive art” that permeates tender and innocent wisdom in their pieces. The excellence of crafts in Peru is manifested, for example, in the harmony of the geometric designs in the tissues, the thorough representation of peasant life in the carved gourd, cultural mixing and colorful retablos.But in the fine size of the stones of Huamanga, the complex baroque carvings in wood, the beauty of the pieces in gold and silver and the many forms it takes in pottery clay. These works are just some of the manifestations of a people who communicate mainly through art, using a language whose fundamental aspects are abundance, fertility and bet for the future.

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