Cycle I
The course covers the study of artistic expressions in Peru from pre-Hispanic art to the 20th century, offering a panoramic view that highlights, in the art of Ancient Peru, the typology of movable goods in the main cultures; in Viceregal Art, the history of painting and styles within their context of creation, from the 16th to the beginning of the 19th century. It also explores the search for a nationalist Peruvian art during the republican years, up to the emergence of indigenism and the avant-garde movements of the 20th century.
In this course, we will study the artistic expression of the Andean civilizations, beginning with the earliest human manifestations. We will analyze the iconographic origins of Caral, its musical instruments, the rich and dominant Chavín ceramics and Paracas textiles, the imposing Moche murals and the Nazca lines and figures, the Wari and Tiwanaku styles, the exquisite Chimú goldsmithing, and the fertility cult in Chachapoyas art.
The aim of this course is to understand the origins and development of the main expressions of Inca art between 1400 and 1572 CE in the Central Andes and surrounding areas. To this end, we will study how these expressions were manifested on different material supports, both movable and immovable, and interpret them in light of the myths of creation, expansion, and collapse of the Inca world. These imperial narratives will be compared with regional accounts describing the Inca presence in order to identify some of the principles that governed imperial art in the Tahuantinsuyo.
The course includes the study of artistic manifestations in Peru during the 16th and 17th centuries, considering the sources in European art during the development of Mannerist and Baroque art and the transformations made by local artists in the context of those centuries, up to the emergence of a different art in the schools of Lima and Cusco.
This practical course aims to introduce participants to the art world through a series of planned visits led by a specialist. The specialist will guide the experience, connecting it to the topics studied up to that point. The specialist will determine both the itinerary and the specific locations to be visited.
Cycle II
The course aims to study the artistic expressions of the main languages of art (architecture, sculpture and painting) in the space of the Viceroyalty of Peru during the 18th and early 19th centuries, paying attention to the main artistic centers and schools that emerged in the territory. Through the visual comparison of objects, formal and iconographic content relationships will be identified, revealing the aesthetic and symbolic influences and confluences, as well as the approaches and ideas surrounding these works and the messages they convey.
Nineteenth-century Peruvian art reflects the transition from colonial rule to the search for a national identity. With Emancipation, the patrons of art shifted from the monarchy and the Church to the Creole elites. New influences shaped artistic taste. Religious painting was supplanted by history painting, consolidating an art that expressed the spirit of independence and local culture. The first half of the century saw the rise of both foreign and folk painters, while the second half saw the dominance of academic painters trained in Europe. The creation of a distinctly national art was the aspiration of most, a vision that would continue into the first generation of 20th-century artists.
This course, combining theory and practice, aims to provide an introduction to the artistic production of Peru by Peruvian artists following the centennial of national independence and the search for new references to modernity. The second half of the 20th century began with a non-figurative exploration and a gradual shift towards conceptual art, characterized by more personal artistic languages but with continuous returns to reflections on national history, historical memory, and identity. The course seeks to offer an overview of this artistic production, its influences and proposals, as well as the spaces where it is exhibited (art fairs, museums, biennials). It also examines critical reflections on the development of modern and contemporary artistic production.
(Elective – Limited spaces)
This course explores the foundations, tools, and strategies for managing artistic heritage in Peru, addressing its historical and cultural diversity and the opportunities for its preservation, interpretation, promotion, and enhancement for social use. Through case studies and diverse experiences, participants will develop a comprehensive understanding of artistic heritage as a cultural, educational, and developmental resource.
(Elective – Limited spaces)
This course is theoretical and practical in nature and aims to provide students with fundamental knowledge of the theoretical, regulatory, and political framework governing the management of visual arts in our country. It also offers an introduction to curatorial concepts and practices, as well as museology as a science that integrates the various aspects of museum work, including exhibition practices. Through theoretical presentations and case studies, students are introduced to these areas of artistic endeavor, encouraging them to delve deeper into the subject through supplementary readings and reflective assignments that involve the analysis of real-world cases in our country.
(Elective – Limited spaces)
This course, which combines theory and practice, aims to provide a comprehensive overview of women's participation in the production, distribution, and management of Peruvian art throughout the 20th century. Through a historical review, from 19th-century painting academies and their entry into the National School of Fine Arts (ENBA) from its inception to their active participation in art schools and faculties across the country, the course seeks to understand women and their contributions to the creation of artistic proposals and art spaces up to the present day. Furthermore, the course explores the history of Peruvian art and the approaches taken to the work of female artists and cultural managers. Finally, the course aims to help students discover or rediscover regional artistic creation from a female perspective.
This practical course aims to introduce participants to the art world through a series of planned visits led by a specialist. The specialist will guide the experience, connecting it to the topics studied up to that point. The specialist will determine both the itinerary and the specific locations to be visited.
