First art exhibitions in Chile

In colonial times, Chilean visual artists had little presence in the cultural scene, mainly because the few works that circulated in convents and temples were commissioned from abroad, from workshops in Cuzco, Alto Perú (Bolivia) or Quito...
The modest life of Art in Chile does not intimidate or discourage us;
Our country, in its brief period of freedom and autonomy,
has already gone through arduous and brilliant stages"

During colonial times, Chilean visual artists had little presence in the cultural scene, mainly because the few works that circulated in convents and temples were commissioned from abroad, from workshops in Cuzco, Alto Peru (Bolivia) or Quito. In this way, a national art was not formed and therefore spaces for dissemination and exhibition were non-existent.

It was not until the 19th century, in a context of auspicious economic growth, that the visual arts had a greater role. The constitution of a Chilean art was, during the first decades, a consequence, among other factors, of the cultural exchange with Europe, of the importation of the French and Italian teaching model and of the arrival in Chile of renowned foreign artists, such as José Gil de Castro, who arrived in Chile in 1810, and Raymond Monvoisin, responsible for the first art exhibitions organized in Chile.

Also important in this process was the intervention of the government, which led to the implementation of a series of initiatives, including the founding of the first Academy of Painting in 1849; the granting of scholarships to painters and sculptors so they could travel to Europe to improve their skills; the creation of the Academy of Sculpture in 1854, and the organization of the first international exhibitions, including the first Official Salon in 1887.

It was the success of the exhibitions held up to that time that motivated the painter Pedro Lira to seek ways to finance the construction of a palace dedicated exclusively and permanently to exhibitions of painting and sculpture. Finally, in 1885, the Parthenon of the Quinta Normal was inaugurated, built thanks to the efforts of Lira and the support of the Artistic Union, a private non-profit entity.

The first events held within the framework of the "official salons" received different names in their years of development. Likewise, its regulations and selection guidelines varied from one event to another, but they nevertheless allowed for the consolidation and expansion of the arts. Around 1900, the National Salon was founded, which, based on the regulations of the Official Salons, incorporated its own guidelines for selecting works and awarding prizes. Other important events were also held, such as the Edwards, Blanco, Maturana and many other competitions that awarded recognition to artists according to their own guidelines.

In parallel to the official salons, the National Society of Fine Arts of 1918 developed its own competitions, which were held on several occasions at the National Museum of Fine Arts, which opened in September 1910 with a major international exhibition.

Magazines of the time, such as Selecta, Pacífico Magazine, Zig-Zag, Artes y Letras and Los Diez, played a vital role in the development of the art exhibition scene in Chile. Through their pages, they disseminated and commented on the achievements, successes and failures of national artists at these events.

It is worth noting that a new space emerged in the local art scene, because, in the opinion of some artists, the aesthetic criteria of the Official Salons were closer to the European model of the 19th century. This is how many artists became independent, publishing a "Manifesto" in 1931 on the occasion of the Salon de los Independientes.

The annual exhibitions or official salons, which formally began in 1887 and were run by a Fine Arts Commission for more than forty years, were organized for the first time by the Department of Cultural and Artistic Extension of the University of Chile in 1930. In 1931 the event was not held, but was restarted again in 1932, under the organization of the Faculty of Fine Arts of the University of Chile, which made modifications to the regulations.
Source