| Summary: | The commemoration of the centenary of Venezuela's independence strengthened in the people the idea of finally having reached an environment of peace and harmony, and of reunion with past glories. Official initiatives favoring the arts necessarily chose the path of exalting patriotic values through public monuments following classical standards. The Centennial was probably the highest point in this academic tradition rejected by youths, but useful to official institutions, so the success of two artists is not casual: sculptor Eloy Palacios with his Monument to Carabobo in 1911, and painter Tito Salas with his Bolivarian Triptych in the same year. Most of the public artistic heritage commissioned for the centennial still adorns the capital, but the artists’ contribu- tion has not yet been fully assessed.
|
|---|
