Abstract

From the premise that a discourse analysis about the Museum and the History of Art as conditions of possibility of Contemporary Art discourse is required, this event analysis suggests that the subject of theoretical discourse of the mac between 1946 and 1947 is to conceive, to select and to display the Chilean painting as a representative overview of the artistic activity and of the nation itself. This also supposes a deeply rooted belief about Chilean art development: the formal evolution of art runs parallel to the emergence of the nation from the beginning of the Republic until the forties of twentieth century, the first one is conceived as a mirror of the second one in its landscapes and genre paintings.