This document is an art criticism that examines the sculpture shown at the Salón de Arte de 1910 [1910 Art Salon] in Colombia. The writer begins by discussing the architects of the pavilion where the exhibition was held, even mentioning the medallions made by the artist, Domingo Moreno Otero. The article goes on to talk about some Colombian sculptors and their work. It starts with Dionisio Cortés, taking special note of the bust of Diego Fallón for its physical similarity to the poet. The second on the writer’s list of sculptors is Juan José Rosas, who executed the medallions for the Teatro Colón [Colón Theater]. Another work he cites by Rosas is an image of the writer, José Asunción Silva, and other busts that the critic deems less than optimal work by the artist. In fact, the anonymous article of this review (J. G.) recommends that Rosas do an apprenticeship in Europe, since “studying the great masters is how we improve our taste.” He also comments on the poor showing of sculpture in the exhibition, alleging that these sculptors give more thought to their financial remuneration than to the glory of their artwork. He goes on to lament that for lack of our own experienced artists, we have to ask Europe to provide major sculptures for us. The writer recommends that the Colombian government improve the sculpture division at the Escuela de Bellas Artes [School of Fine Arts], appointing experienced teachers. This brings the writer to an enumeration of the sculptors, some of whom were [otherwise] unknown in contemporary [art] history. One sculptor to whom he calls attention is Elisa Peñarredonda, who had several sculptures in the exhibition. Two highlighted in the article are the busto de Córdoba [Bust of Córdoba] and Piloto [Pilot]. The writer goes on to state that this is not the first time the artist has shown her great gifts as a sculptor. Other artists noted are one Señor Osorio and Carlos de Valenzuela—deemed to have the only [work in cast bronze/cast work], also a Señor Achiardi and an artist called C. Carvajal—with the sculpture, Bolívar en sus últimos días [Bolívar in his Last Days]. Finally, an artist called S. Hernández entered one work: Estudio anatomo-patológico del Libertador [Anatomical/Pathological Study of the Liberator]. To conclude, the writer acknowledges the efforts of the Colombian government and the School of Fine Arts. However, he keeps up his emphasis on the lack of classical models, aesthetic studies and qualified teachers in Bogotá.

The article on sculpture at the 1910 Art Salon shows the existence of a group of Colombian sculptors as do few documents of the period. Most of these sculptors participated in the celebration of Colombia’s Centenary of Independence. Among the sculptors, only Juan José Rosas and Dionisio Cortés (1863?1934) received any commission from the government, and the commissions received were small. In this regard, it becomes evident that there was no well-known representative of Colombian sculpture at the time. That was why the commission for an equestrian statue of the Liberator, Simón Bolívar, the symbol of the exhibition, was given to a Parisian sculptor. The lack of any important figure in this field was one more strike against Bogotá’s School of Fine Arts, which was falling apart in the early twentieth century. Among other reasons, this was due to the lack of its own space, a lack of teachers in some basic fields and even a scarcity of materials for the classes. 

The sculptures and busts made for the celebration of Colombia’s Centenary of Independence were the most common way of honoring the memory of national heroes. Of course, this led to more work for the artists, who were ultimately primarily responsible for creating representations of the public figures, events and places to be remembered and honored. Art spilled out into the city’s streets and parks. At each of the representative sites in the Colombian capital, there was a statue to remind people of some protagonist of the new history launched in 1810, the year when independence was heroically won [from Spain]. Inside the Salon, the work presented had its formal roots in Europe, although the themes remained Colombian. In each corner were a number of busts made with a whole range of methods and themes; some evoked the country’s political leaders, while others reflected the institutional power of both church and State. In this way, the art, and more specifically the sculpture, contributed to the re-creation, representation and strengthening of everything that characterized the new nation.