The school of applied arts, university of Chile (1928-1968)

Design Issues

Volumn 25, Issue 2, 2009, Pages 75-93

  Espinoza, Eduardo Castillo ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EDUCATION; TEXTILE ART;

EID: 65349172454     PISSN: 07479360     EISSN: 15314790     Source Type: Journal    
DOI: 10.1162/desi.2009.25.2.75     Document Type: Review

References (44)

1. An institution established in 1849, during the government of President Manuel Bulnes. in its beginnings, it was called "Academy of Fine Arts."
2. Uncredlted; "Arte aplicado a Ia Industria" ("Art Applied to Industry"), El Mercurio (Santiago: October 6,1904): 3.
3. Emilio Rodríguez Mendoza, "La Escuela de Bellas Artes de Santiago" ("The School of Fine Arts of Santiago") Anales de Ia Universidadde Chile Tome CXIV, (Santiago: Imprenta Cervantes, 1904), 732.
4. Arias was a government envoy in Europe between 1882 and 1889.
5. Moisés Vargas, Bosquejo de la Instrucción Pública en Chile (Outline of Public Teaching in Chile) (Santiago: Imprenta Barcelona, 1908), 333.
6. José Perottl, "Las Artes Aplicadas en Chile" ("Applied Arts In Chile"), Revista de Arte 1:4 (Santiago: Facultad de Bellas Artes de la Universidad de Chile, December 1934-March 1935): 7.
7. Unsigned; "Orientación" ("Orientation"), Revista de Arte V.I (Santiago: September 1928): 1.
8. Uncredited; "La Reforma en Ia Escuela de Bellas Artes" ("Reform at the School of Fine Arts"), Revista de Arte 1:1 (Santiago: September 1928): 5.
9. Ibid., 7.
10. In Alfredo Aliaga, "Breve Historiade la Plástica Chilena, XV. Carlos Isamltt" ("Brief History of Chilean Fine Arts, XV. Carlos lsamitt"), En Viaje335:XXVIII (Santiago: September 1961): 33. Sculptor José Perotti was assigned Night Section Chief of Decorative Arts in 1928, and later acted as the first Director of the School of Applied Arts from 1933-1956.
11. See Gonzalo Vial, Historia de Chile (1891-1973), Vol. IV, La Dictadura de Ibañez (1925-1931) (History of Chile [1891-1973]. IV, The Ibañez Dictatorship [1925-1931]) (Santiago: Editorial Fundaciún, 1996).
12. See: Patricio Lizama, "El cierre de Ia Escuela de Bellas Artes en 1929: Propuestas, querellas y paradojas de Ia vanguardia chilena" ("The Closing of the School of Fine Arts in 1929: Proposals, Conflicts, and Paradoxes of the Chilean Avant-Garde"), Aisthesis 34 (Santiago: Instituto de Estética PUC, 2001): 134 -152;
13. Justo Pastor Mellado, "La política antl-ollgárquica del Ministro Ramírez y sus efectos en la organización de la enseñanza de artes" ("The Anti-oligarchic Policy of Minister Ramirez and Its Effects on the Organization of Arts Education"). www.justopastormellado.cl (gabinete de trabajo [work cabinet], May 2003).
14. Patricio Lizama, "El cierre de Ia Escuela de Bellas Artes en 1929: Propuestas, querellas y paradojas de Ia vanguardia chilena"; 150.
15. In Antonio Romera, Carlos Hermosilla Colección artistas chilenos (Chilean Artists Collection) (Santiago: Instituto de Extensión de Artes Plásticas, Facultad de Bellas Artes Universidad de Chile, 1959), 17.
16. In 1934, out of twenty-six artists favored by Ramírez' measures, only five were teaching at the School of Applied Arts: Armando Lira (drawing), René Mesa Campbell (ceramics, in charge of the Fire Arts Workshop), Héctor Banderas (ceramics), Oscar Millán (artistic bookbinding), and Maria Valencia (toymaklng).
17. Escuela de Artes Plásticas, Sección Artes Aplicadas (School of Fine Arts, Applied Arts Section) (Santiago: Universidad de Chile, 1933), 7-8.
18. Escuela de Artes Plásticas, Sección Artes Aplicadas (School of Fine Arts, Applied Arts Section) (Santiago: Universidad de Chile, 1934), 6.
19. CORFO was a state institution dedicated to fostering and regulating the country's Industrial development. It was created in the late-1930s under a mandate of President Agulrre Cerda, who was at the helm of the first center-left government in Chile's history: the Popular Front. This type of political coalition had come about worldwide during the inter-war period as a way of curbing the spread of fascism.
20. Ricardo Richón-Brunet, "La Escuela de Artes Aplicadas y su porvenir" ("The School of Applied Arts and Its Future"), Revista de Arte IV: 19-20 (Santiago: Facultad de Bellas Artes Universidad de Chile, 1938): 20.
21. Jorge Letelier, "Artes Aplicadas" ("Applied Arts"), Revista de Arte 111:14 (Santiago: Facultad de Bellas Artes Universidad de Chile, 1937): 19.
22. Jorge Letelir, "Exposición de la Escuela de Artes Aplicadas" ("Exhibition at the School of Applied Arts"), Revista de Art 11:9 (Santiago: Facultad de Bellas Artes Universidad de Chile, 1936): 43.
23. Germán Perotti, "Perotti y la Escuela de Artes Aplicadas" ("Perottl and the School of Applied Arts") in José Perotti, catalogue of the exhibition at the National Museum of Fine Arts, Santiago, November 2003, 15.
24. Ibid., 19.
25. Ibid., 16.
26. Ibid., 19.
27. Mauricio Vico, "Waldo González y los carteles para la Polla Chilena de Beneficencia" ("Waldo González and the Polla Chilena Charity Fund Posters") in Chilean Poster 1963-1973(Santiago, Chile: Ediciones B, 2004), 9.
28. Ibid.
29. Silvia León, "Los Larrea" ("The Larreas"), Ritmo 314 (Santiago, September 7, 1971): 20.
30. Hugo Palmarola, "Productos y socialismo: diseño industrial estatal en Chile" ("Products and Socialism: State Industrial Design in Chile") in 1973, Daily Life in a Crucial Year, Claudio Rolle, ed. (Santiago: Editorial Planeta, 2003), 243.
31. Decree No. 10032, Santiago, August 26, 1970, which approves curriculum and corresponding titles for Design studies at the Fine Arts Faculty. This information was provided by the architect Fernando Caracci, Director of the School of Applied Arts from 1963-1968, and the Department of Design from 1968-1973.
32. Fernando Shultz, Para una historiografía (no más) del diseño industrial en Chile (Towards a Historiography (No More) of Industrial Design in Chile), Personal notes, unpublished.
33. Ibid.
34. "Walker, Bonslepe y la Guerra de las Galaxias" ("Walker, Bonsiepe and Star Wars"), Interview with designer Rodrigo Walker in Revista Envidia 1 (Santiago: Facultad de Arquitectura y Urbanismo, Universidad de Chile, 2000): 33.
35. Crucial to the origin of this space was the work of architect Ventura Galván, Director of Applied Arts between 1957 and 1963.
36. Strictly speaking, the School of Applied Arts ceased to exist in 1973.
37. The Technical Cooperation Service SERCOTEC, a department of the Chilean Economic Development Agency CORFO, was the first time Bonsiepe worked in Chile, between 1968 and 1970, as the result of an agreement between the International Labor Organization ILO, the lnteramerican Bank of Development BID, the United Nations, and CORFO.
38. Hugo Palmarola, "Productos y socialismo: diseño industrial estatal en Chile"; 290.
39. Fernando Shultz, Para una historiografía (no más) del diseño industrial en Chile (Towards a Historiography (No More) of Industrial Design in Chile).
40. Germán Perottl, "Perotti y Ia Escuela de Artes Aplicadas" ("Perottl and the School of Applied Arts") in José Perotti, catalogue of the exhibition at the National Museum of Fine Arts, 19.
41. One of the main tasks of the Allendist program was to "solve the Immediate problems of the great majorities. To this end, the productive capacity of the country will be shifted from expensive and superfluous Items destined to satisfy the high-Income sectors, to the production of Inexpensive high-quality items for mass consumption." Basic Program of the Popular Unity (Santiago, 1970): 23.
42. A minimal portion of the School's written and visual documentation was dispersed among the University of Chile's different libraries and archives, while the bulk of the Information was "trashed" (destroyed or met an uncertain fate).
43. The "younger sibling" relationship that had existed between Fine Arts and Applied Arts was, from the second half of the Seventies, displaced to the connection between architecture and design.
44. In 1994, in the context of the Second Biennale hosted by the School of Design of the Catholic University, International guest Alessandro Mendini criticized the organizing party in harsh terms for its lack of Interest in the artisanal and traditional crafts of Chile.