The attachment by the critic Cipriano Vitureira (1907−1977) to lyricism (and to the landscape as a means to achieve it) is found within the observed development of Uruguayan art as it exhibits a special sensibility common to the landscape genre, mainly after the Civil War of 1904 put an end to rural decentralization and the politically unified territory. This trend was addressed between the twenties and thirties by other critics such as Eduardo Dieste, (1882−1954) and Alberto Zum Felde (1888−1976). All of them promoted cultural organizations and groups, composed of intellectuals and professionals defending a culture independent of political power, a tendency that was current in the thirties. These intellectuals and artists concurrently met at coffee shop gatherings, each one with a refined European philosophy, participating in a common literary body with a will for democracy. It is with this that they encouraged the need to “educate progressively” through contacts between artists and the public. Vitureira developed many of these ideas in the book he published in 1937, Arte Simple, and especially on the chapter titled “Lirismo y naturaleza,” the core of this document. On the other hand, his literary philosophical analogies denoted some eighteenth-century biases, specifically from Abbott Charles Batteaux and Gottgold Lessing. Vitureira prefers to describe the poetic generation of the nineteenth century in Uruguay from a historical perspective, mainly referring to Julio Herrera and Reissig, Delmira Agustini, and María Eugenia Vaz Ferreira. In his comparative work, the author links them with the landscape aesthetic of Pedro Blanes Viale, which echoes in the visual arts, displaying such lyricism in terms of being almost visual poetry.