Two Paintings, Two Landscapes

One Foundational Act The Foundation of Santiago and the Construction of a Landscape Imaginary

Abstract

The analysis of the initial and final versions of The Foundation of Santiago, created by Pedro Lira Rencoret at the end of the 19th century, may prove illuminating for approaching the origins of the construction of a national landscape imaginary in Chile. The work, which represents the foundational act of the city of Santiago, is presented in two moments: a study version and, subsequently, a definitive version, constituting notably different interpretations of the same historical event.

Landscape representation in Chile reached its maximum development during the 19th century, a period when the landscape genre was consolidated as a fundamental tool in the construction of Latin American national identities. In this context, Lira's work acquires special relevance by presenting two contrasting visions of the same territory: the study version, which approaches a more faithful representation of the Mapocho valley during the conquest, and the final version, which constructs an idealized image that responds to the aspirations of the 19th-century Chilean nation.

The present research proposes a detailed comparative analysis of both versions, decomposing their landscape elements to examine the construction of two distinct narratives that have influenced the way of culturally conceiving Chilean territory and identity. The study suggests that the differences between both versions reveal the tensions and aspirations present in the construction of 19th-century Chilean national identity.

This analytical exercise invites deeper reflection on the process of decolonization of the original landscape, examining how pictorial representations not only document a historical moment but also actively participate in the construction of national and cultural imaginaries.