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Myriam A. Ribeiro de Oliveira and Liliana Herrera

In 

See Lisboa family

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Myriam A. Ribeiro de Oliveira

Brazilian painter. He was the most important painter active in the province of Minas Gerais during the Colonial period. He learnt his craft in the workshop with other artists and from such theoretical treatises as Andrea Pozzo’s Perspectivae pictorum atque architectorum (1693–1700) and such technical manuals as the ...

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Jorge Luján-Muñoz

Guatemalan painter, printmaker, and medallist. He entered the mint in 1795 as an apprentice engraver but on the recommendation of its director, Pedro Garci-Aguirre, also became Master Corrector at the Escuela de Dibujo de la Sociedad Económica de Amigos del País, Guatemala City, in 1796...

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Argentinian, 18th – 19th century, male.

Born at the end of the 18th century, in Buenos Aires; died 1878, in Buenos Aires.

Painter, lithographer. Figure compositions.

Camana was the founder of the Society for the Development of Art in Argentina in 1876, and also taught design to Doña Mamelita Rosas, wife of the famous general. He created the picture: ...

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Puerto Rican, 18th – 19th century, male.

Born 1751; died 1809.

Painter. Religious subjects, portraits.

José Capeche is regarded as the father of Puerto Rican painting. His father, Tomás de Rivafrecha y Campeche, was the slave of a Canon at the cathedral; later, having been freed, he taught himself how to gild and paint and eventually introduced his son to painting. José Campeche later worked with the Spanish painter Luis Paret y Alcázar, exiled to Puerto Rico in ...

Article

Peruvian painter, also active in Chile. He was self-taught. He spent many of his early years in Chile (see also Chile, Republic of, §III, 2), during which he worked in the army as, among other things, a topographer. He also painted a number of religious works during this period, including ...

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Elisa García Barragán

Mexican painter. He studied painting at the Academia de San Carlos, Mexico City, and in 1844 went to the Accademia di S Luca, Rome, where he was taught by the Sicilian Neo-classical painter Natal di Carta. His earliest works were portraits, for example that of the Mexican sculptors ...

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Zilah Quezado Deckker

Portuguese architect, active also in Brazil. He studied in Italy under royal patronage, a pattern of artistic education established in Portugal at the beginning of the 18th century. He went first to Bologna, in 1769, becoming a member of the Accademia in 1775. He subsequently went to Rome, making an extensive tour of Italy before returning to Lisbon in ...

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Teresa Gisbert

Term used to refer to the Peruvian painters of various ethnic origins active in Cuzco from the 16th to the 19th century (see fig.). When Viceroy Toledo reached Cuzco in 1570, he commissioned a series of paintings (destr.) to be sent to Spain, which included depictions of the conquest and capture of Atahuallpa (...

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Roberto Pontual

French painter and draughtsman, active in Brazil. When very young he accompanied his cousin, Jacques-Louis David, on a trip to Italy from which he returned in 1785. He then enrolled in the Académie Royale de Peinture et de Sculpture in Paris, initially following parallel studies in civil engineering but soon devoting himself to painting. Between ...

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Brazilian, 18th – 19th century, male.

Born in São Sebastiao.

Painter. History painting, genre scenes.

Dias de Oliveira completed his studies in Portugal and Rome, where he was the pupil of Cavalucci. He became a drawing master in Rio de Janeiro.

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David Watkin

English architect. Elmes was responsible for one of the finest Neo-classical public buildings in Europe, St George’s Hall and Assize Courts, Liverpool; a remarkably convincing re-creation of the grandeur of imperial Rome for someone who had never visited Italy or Greece. Elmes was a pupil of his father ...

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Blanca García Vega

Spanish engraver. He trained at the Real Academia de S Fernando, Madrid, where he was a pupil of Manuel Salvador Carmona. In 1795, under Salvador Carmona’s direction, he copied Gerard Edelinck’s print of the Holy Family, a painting (Venice, Pin. Manfrediniana) formerly attributed to Leonardo. Fernández Noseret engraved ...

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Eduardo Serrano

Colombian painter. Like the painters who had worked in the region during the colonial period, he specialized in portraits and religious paintings and displayed a preference for a frontal treatment of the human figure and for heavy draperies as backdrops. Nevertheless, his work was distinguished by indications of atmosphere, customs, and politics, which established the terms for the development of painting in Colombia during the 19th century. The portraits he painted after ...

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Roberto Pontual

Brazilian sculptor and wood-carver. His earliest surviving works, mainly commissioned from religious fraternities and all located in Rio de Janeiro, date from the late 1770s. His surviving work, typical of the transition from Baroque-Rococo to Neo-classicism, includes the carving on the main altar of the noviciate chapel of the church of Carmo and the altar of the church of S Francisco de Paula; the statues of ...

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Jorge Luján-Muñoz

Spanish engraver and architect, active in Guatemala. He studied in Cádiz around 1760, and in 1773 he moved to Madrid, where he was probably taught by the noted engraver Tomás Francisco Prieto (1726–82). In 1778 he was appointed assistant engraver of the Real Casa de Moneda in Guatemala, where he arrived the next year. Following the death of the principal engraver, he was confirmed in this post in ...

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French architect and urban planner, active in Brazil. He studied at the Ecole des Beaux-Arts in Paris with Charles Percier and Pierre Fontaine and won the Prix de Rome in 1799 with a scheme for a necropolis. In 1801 he moved to Italy to complete his studies at the French Academy of Fine Arts in Rome. There he restored (...

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Mónica Martí Cotarelo

Spanish architect, painter and teacher, active in Mexico. He graduated as an architect from the Real Academia de Bellas Artes de S Fernando, Madrid, but also worked in painting, sculpture and pastel miniatures. In 1836 he worked in Paris under Henri Labrouste, and in 1838...

Article

Fine arts institutions with a structured curriculum led by professors or directors, financed by the Spanish monarchy in colonial times and national governments thereafter. Academies of fine arts in Latin America descend from mid-18th-century developments in Spain, which were based on the model of the French royal academies founded in the 17th century. The Spanish monarchy sponsored a number of drawing schools and three royal art academies in the second half of the 18th century, including the academies of S Fernando in Madrid (...

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French painter. He was the illegitimate son of a white government official and a freed black slave. Although his real name was Guillon, as the third child of the family he called himself Letiers, Lethiers and finally, from 1799, when recognized by his father, Lethière. While accompanying his father to France in ...