Antonio Romera: sieges on his critical work
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Abstract
In the first section, this article revises certain considerations that supported art criticism in Chile during the first half of the 20th century. It analyses certain biases that characterized the critical discourse of the period, influenced by exogenous determining factors. The objective is to show how art criticism focuses more on the circumstances and contexts, rather than on the analysis of the aesthetic text itself. It refers to authors such as Ricardo Richon Brunet and Nathanael Yánez Silva. The second part examines the gravitating presence of the Spaniard, Antonio Romera, in Chile, who became the theoretical organizer of the history of national painting. Some key aspects of his theoretical approaches are analysed.
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