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The goal of this article is to contribute to the analysis, discussion and systematization of the Italian-Chilean nineteenth-century artistic relations, offering new information about the artistic career of Giovanni Mochi, Florentine painter whose activity is documented in Italy, France, and Chile during the 19th century. Specifically, through a historical contextualization of the years of his arrival in Chile (1876), we will focus on the analysis of two thesis: the first one will inform about Mochi's pictorial production in Florence, Rome and Paris; the second one revolves around the managerial activities developed in Chile. For this purpose, we processed information coming from documents of the Chilean Ministerio de Instrucción Pública, journalistic sources from Italy and Santiago, catalogues from exhibitions and shows celebrated in the three mentioned countries since 1851, first year of Mochi's activity as a painter., El objetivo del presente artículo es entregar nuevos datos sobre la trayectoria artística de Giovanni Mochi, pintor florentino cuya actividad está documentada entre Italia, Francia y Chile en el siglo XIX. En concreto, tras una contextualización histórica de los años en los que se inserta su llegada al País andino (1876), nos centraremos en el análisis de dos ejes: el primero de ello, dará cuenta de la producción pictórica de Mochi entre Florencia, Roma y París; el segundo gira entorno a las actividades desarrolladas en Chile, tanto artísticas como directivas y de gestión. Para ello, hemos procesado datos procedentes de documentos del Ministerio de Instrucción Pública chilena; fuentes periodísticas italianas y santiaguinas; catálogos de exposiciones y salones celebrados en los tres Países mencionados a partir de 1851, año de exordio de Mochi como pintor.&nbsp

Dibujo técnico, artístico, académico, anatómico, animado, arquitectónico, geodésico, vectorial, a mano alzada, lineal, del natural, geométrico, científico, industrial, fotogénico. Estas son solo algunas de las modalidades, y por ende de las posibilidades, ofrecidas por el dibujo, disciplina tanto antigua como continuamente in fieri gracias a los nuevos materiales y tecnologías, cuyo desarrollo e historia han sido y son objeto de numerosos estudios y reflexiones.

The present article aims to give a succinct assessment of the developing Italian identity in Chile in the course of the nineteenth century, through the analysis of journalistic and literary discourses that were published in “L’Eco d’Italia”, which represents an example of ethnic press. On one hand we investigate the definition of the discourses on the Italian identity, which began to take shape in the last quarter of the 19th century, and on the other hand we evaluate the impact of language on the discourses, and therefore on the formation of the Italian identity in Chile. In particular, we discuss the figures of Adolfo Ghiselli and Carlo Piva, respectively the first director and the editor of the newspaper. Our analysis revealed the use of stylistic resources extracted from the Italian literature and inspired by classical authors of the Trecento who appealed to patriotic love and by the nineteenth-century tradition of Northern Italy., O presente artigo centra-se nas origens da formação indentitária italiana no Chile no século XIX, analisados através dos discursos jornalísticos e literários presentes no L’Eco d’Italia, exemplo da imprensa étnica. Indagaremos, por um lado, na definição dos discursos identitários italianos que iniciou a sua gestação no último quarto do século XIX, e pelo outro, na sua análise literária com o fim de valorizar o impacto que a língua teve na formação discursiva e por isso identitária italiana no Chile. Em particular nos centraremos nas figuras de Adolfo Ghiselli, primeiro diretor do jornal e na de Carlo Piva, seu editor. Demonstraremos que ambos valeram-se de recursos estilísticos extraídos da literatura italiana cujas inspirações oscilaram entre os autores clássicos do Trecento e a tradição decimonônica do Norte da Itália., El presente artículo se centra en los orígenes de la formación identitaria italiana en Chile en el siglo XIX, analizados a través de los discursos periodísticos y literarios presentes en el L’Eco d’Italia, ejemplo de prensa étnica. Indagaremos, por un lado, en la definición de los discursos identitarios italianos que inició a gestarse en el último cuarto del siglo XIX, y por el otro, en su análisis literario con el fin de valorar el impacto que la lengua tuvo en la formación discursiva y por ende identitaria italiana en Chile. En particular nos centraremos en las figuras de Adolfo Ghiselli, primer director del periódico y en la de Carlo Piva, su editor. Demostraremos que ambos se valieron de recursos estilísticos extraídos de la literatura italiana cuyas inspiraciones oscilaron entre los autores clásicos del Trecento y la tradición decimonónica del Norte de Italia.

The article deals with painting as the variable promoter of the artistic relations between Italy and Chile in the 19th century. Starting with a journey through the historiography about that topic, we are going to go in depth in artists and cultural agents who created concrete room of exchange between the two countries; we are going to provide data about works and aesthetic models that influenced the chilean plastic of drawing and served as a vehicle of artistic transfer from Italy. We are going to refer to Benjamin Vicuña Mackenna and to his journey to Italy, to Pope Pius IX who visited Santiago when he was the Canon Mastai Ferretti, to Prospero Piatti and his canvas with their new Pompeii-style, bought by the diplomat Augusto Matte in 1902. Everything has the aim of starting a systematic research that gives an account on the prosperous scheme of bonds and meeting points between the Belpaese and the distant Chile., El artículo trata de la pintura como variable propulsora de las relaciones artísticas entre Italia y Chile en el siglo XIX. Empezando por un recorrido en la historiografía sobre el tema, profundizaremos sobre artistas y agentes culturales que crearon espacios concretos de intercambios entre los dos países; aportaremos datos de obras y modelos estéticos que ejercieron influjo desde Italia y fueron vehículo de transferencias artísticas a la plástica pictórica chilena. Nos referiremos, a Benjamín Vicuña Mackenna y a su viaje a Italia, al Papa Pio IX que visitó Santiago cuando era el canónigo Mastai Ferretti, a Prospero Piatti y sus telas de sabor neopompeyano adquiridas por el diplomático Augusto Matte en 1902. Todo ello con el objetivo de comenzar una investigación sistemática que de cuenta del rico entramado de lazos y puntos de encuentros entre el Belpaese y el lejano Chile.

The present article has the purpose to offer an analysis of the evolution of chilean painting during the 19th century, investigated from the interpretation of the water in the pictorial production of three of the most representative artists in the field of landscape, sea and naval glory painting. In particular, we will refere to the creations of Antonio Smith, Charles Wood and Thomas Somerscales, whose representations of rivers, lakes and especially Pacific Ocean are a proof of the productive phase that in 19th century painting had in Chile. We will focus on the study of the three keys of composition, light and color in a combination of works kept in precious public and private collections, selected due to the judgment about the relevant technical and esthetic qualities by the actual artistic critics and historiography., Resumen: El presente artículo quiere ofrecer un análisis de la evolución de la pintura chilena del siglo XIX, indagada a partir de la interpretación del tema hídrico en la producción pictórica de tres de los artistas más representativos en los ámbitos de la pintura de paisaje, del marinismo y de la pintura de glorias navales. En particular nos referiremos a las creaciones de Antonio Smith, Charles Wood y Thomas Somerscales, cuyas representaciones de ríos, lagos y sobre todo del Océano Pacífico son una prueba de la fecunda etapa decimonónica que esta disciplina vivía en Chile. Nos fijaremos en el estudio de las tres claves de composición, luz y color en un conjunto de obras guardadas en prestigiosas colecciones públicas y privadas, seleccionadas atendiendo a los juicios sobre las relevantes cualidades técnicas y estéticas reconocidas en ellas por la crítica y la historiografía artísticas actuales.

This paper presents a first approach to the compilation of iconographic documentation on Brazil in Chile. In particular, we will refer to the postcards, photographs and illustrations that can be dated to the 20th century, persevering in several Chile anheritage institutions today. In particular, we will focus on the material collecting in Santiago and Vicuña Valparaíso. The goal is to begin a systematic investigationon the exchanges of images between the two countries mentioned, in order to reconstruct the artistic relations that united them at the dawn of 1900., En el presente escrito presentamos un primer acercamiento a la recopilación de documentación iconográfica sobre Brasil en chile. En particular, nos referiremos a las tarjetas postales, fotografías e ilustraciones fechables en el siglo XX, que hoy en día guardan varias instituciones patrimoniales chilenas. En particular, nos fijaremos en el material conservado en Santiago y Vicuña. El objetivo es dar comienzo a una investigación sistemática sobre los intercambios de imágenes entre los dos países mencionados, para reconstruir las relaciones artísticas que les unieron a los albores del Novecientos.

The significant evolution of Chilean Fine Arts during the passage from the 18th to the 19th century has its raison d’etre in two factors. The first one was the boost to the systematization of artistic studies in the education of young artists. Since 1796, with the foundation of the Academia de San Luis in Santiago thanks to the erudite Manuel de Salas’ effort, the required forms of academic institution that recognized in drawing the essential discipline in the process of artistic learning, started to be set up. From the 19th century onwards, the National Institute, the Painting Academy and other institutions started focusing artistic studies on Fine Arts rather than with the field of industry and agriculture. The Chilean art painting experienced a change in artistic trends to forms that Antonio Romera in 1969 thoroughly defined as “tropical romanticism”, and that from our point of view has the best performer in the French Monvoisin. This consideration takes us straight to the second factor, that is, the presence in Chilean territory of foreign artists. The “travelers” who not only introduced innovative stylistic changes in Chilean painting, but also who accelerated the circulation of artistic treaties, books and engraves that, from Europe, nurtured a real remodeling of the discourse about aesthetic matters and of taste. In the following pages, we are going to demonstrate how these circumstances, coexisted due to a social and politic context which allowed it, favoured a real development of Fine Arts in Chile. Proof of it are the words pronounced by the Italian painter Alessandro Ciccarelli in the Painting Academy inauguration speech. Referring to his educational project to make Chilean Fine Arts more relevant, he applied the refined system that the theorist Winckelmann in 1764 applied to the study of Grecian Art History of the 5th century B.C. The Prussian historian linked certain politic, geographic and climatic conditions to the creation of a positive context for t, O prusiano vinculava determinadas condições políticas, geográficas e climáticas com a criação de um contexto favorável ao florescimento das Artes. Em Santiago todas as circunstâncias se estavam dando naquela época, assim que Ciccarelli pôs ao jovem Páis o lisongeiro apelido de “Atenas de América do Sul”.A apreciável evolução das Belas Artes chilenas na passagem desde o século XVIII ao XIX tem seu raison d’etre em dois fatores: o primeiro foi o impulso dado à sistematização dos estudos artísticos na formação dos jovens artistas. A partir de 1796 com a fundação em Santiago da Academia de San Luis graças aos esforços do ilustrado santiaguino Manuel de Salas começaram a se estabelecer as necessárias formas de institucionalização acadêmica que reconheceram no desenho a disciplina fundamental no processo de aprendizagem artística.A partir do século XIX o Instituto Nacional, a Academia de Pintura e outras instituições preocuparam-se de canalizar os estudos artísticos orientados a uma perspectiva vinculada mais às Belas Artes que ao âmbito da indústria e da agricultura.A pintura chilena experimentou então um câmbio de tendências artísticas que a dirigirão até formas que em 1969 Antonio Romera definiu felizmente de um “romancismo tropical”, e que em nossa opinião têm no francês Monvoisin seu melhor intérprete.Esta consideração nos leva diretamente ao segundo fator, isso é, a presença no solo chileno de artistas estrangeiros, os “viageiros” que além de introduzir câmbios estilísticos inovadores no panorama da pintura chilena, agilizam a circulação de tratados de arte, livros e estampas que desde Europa alimentou uma verdadeira reforma do discurso por volta de questões estéticas e de gosto.Nas seguintes páginas demonstraremos como estas circunstâncias dialogando entre si graças a um contexto social e sobre tudo político que o permitiu, favoreceram um verdadeiro florescimento das Belas Artes no Chile.Prova disso foram as palavras pronunciadas em 1849 pelo pintor italiano Alessa, La apreciable evolución de las Bellas Artes chilenas en el pasaje desde el siglo XVIII al XIX tiene su raison d’etre en dos factores: el primero fue el impulso dado a la sistematización de los estudios artísticos en la formación de los jóvenes artistas. A partir de 1796 con la fundación en Santiago de la Academia de San Luis gracias a los esfuerzos del ilustrado santiaguino Manuel de Salas empezaron a establecerse las necesarias formas de institucionalidad académica que reconocieron en el dibujo la disciplina fundamental en el proceso de aprendizaje artístico.A partir del siglo XIX el Instituto Nacional, la Academia de Pintura y otras instituciones se preocuparon de canalizar los estudios artísticos hacia una perspectiva vinculada más a las Bellas Artes que al ámbito de la industria y de la agricultura.La pintura chilena experimentó entonces un cambio de tendencias artísticas que la dirigirán hacia formas que en 1969 Antonio Romera definió felizmente de un “romanticismo tropical”, y que en nuestra opinión tienen en el francés Monvoisin su mejor interprete. Esta consideración nos lleva directamente al segundo factor, eso es, la presencia en suelo chileno de artistas extranjeros, los “viajeros” que además de introducir cambios estilísticos innovadores en el panorama de la pintura chilena, agilizaron la circulación de tratados de arte, libros y estampas que desde Europa alimentó una verdadera reforma del discurso entorno a cuestiones estéticas y de gusto.En las siguientes páginas demostraremos como estas circunstancias dialogando entre sí gracias a un contexto social y sobre todo político que lo permitió, favorecieron un verdadero florecimiento de las Bellas Artes en Chile. Prueba de ello fueron las palabras pronunciadas en 1849 por el pintor italiano Alessandro Ciccarelli en ocasión del discurso inicial para la inauguración de la citada Academia de Pintura. Refiriéndose a su proyecto educativo para levantar las condición de las Bellas Artes chilenas, aplica el exquisi

It is difficult to frame Anton Raphael Mengs in a specific stylistic movement nowadays that the chronological divisions and the consequent definitions of the art of the Enlightenment are going to be more and more controversial. Because of his eclectic and cosmopolitan activity, his ideas about Ideal Beauty spread across the countries affected by the apprehensions and hopes related to the 18th century. The bohemian painter dedicated his entire life to the study of ancient art; his marble collection of the statues from the great Italian collections interested the artists coming to the Eternal City, and he consecrates esthetic models of different epochs. Mengs never get away from these models – Ancient Greece, Raffaello Sanzio, Tiziano Vecellio, Antonio Correggio. His presence in Spain was favored by propitious circumstances: the coronation of an erudite, educate king, lover of Fine Arts, Charles III of Spain, a king so intimately close to the painter to guarantee him his protection in the difficult relation between Mengs and the San Fernando Academy of Fine Arts in Madrid. The relation between the Institution and the Bohemian get complicated because of the different ideas about the organization of the academy and the education of the students. Because of the little original sources, several matters have not been resolved, for example the issue about the false ancient fresco of Jupiter and Ganymede, or the controversy about the Peñacase, that brought to the final breakup between the artist and the consiliarios in San Fernando Institution. Mengs focused his attention in an even worse matter about the direction of the academy: concretely, which competences had to have the consiliarios and which the teachers. When Mengs asked to be accepted in the academy, he undoubtedly thought that the Institution was structured as the other great one in which he took part in Italy, San Luca National Academy in Rome. Within Mengs’ proposals to raise the level of the Academy in Madrid th