The notion of “erasing Europe,” suggested by Ana María Risco, is based on the story that Pablo Burchard (1875–1964)—before going to Europe—could be intuitively considered a post-Impressionist in the field of Chilean art, having originally trained at the Academia de Bellas Artes under Pedro Lira and then Álvarez Sotomayor. Burchard therefore represents a lack of continuity in terms of representation. According to Enrique Lihn (1929–1988) and his reading of his mentor, as interpreted by Risco, Burchard represents a moment of acceleration. He would later, as has been stated, be described by José Balmes as the hinge connecting the two historical wings of the visual arts, as portrayed by the works of José Balmes and Adolfo Couve.
[For other articles about Lihn’s work, see the following in the ICAA digital archive: “Enrique Lihn, en el trazo de Juan Emar” (doc. no. 753808) and “Crítica situada: la escritura de Enrique Lihn sobre artes visuales” (doc. no. 753791), both by Ana María Risco; “Conversaciones con Enrique Lihn” (doc. no. 754001) by Pedro Lastra; “Enrique Lihn: Entrevistas” (interviews) with Daniel Fuenzalida (doc. no. 754484); and “Enrique Lihn: Escritura excéntrica y modernidad” (doc. no. 778836) by Carmen Foxley].