TO SAINT JOHN THE PRIVATE UNIVERSITY

SAINT JOHN BAPTIST

BAPTIST

SUBJECT : HISTORY OF ART

CYCLE :II
ACADEMIC SEMESTER: 2020-1
 SAN JUAN BAUTISTA PRIVATE UNIVERSITY
PRIVATE UNIVERSITY^ FACULTY OF
HEALTH SCIENCES PROFESSIONAL SCHOOL OF
MEDICINE
“Dr. “Wilfredo Erwin
HUMANGardini
Toast”
ACCREDITED BY SINEACE
RE INTERNATIONALLY ACCREDITED
PORRIEV

REPUBLICAN ART
TEACHERS RESPONSIBLE FOR THE SUBJECT

LIMA HEADQUARTERS Fernando

Sarmiento
CAMPUS SAINT
Josefina Frias
SUBSIDIARY
BORJA: Leticia Reyes

Lion
ICA SUBSIDIARY
Julio Reyes Torres SAN JUAN BAUTISTA PRIVATE UNIVERSITY

CHINCHA:
 REPUBLICAN ART
ART
REPUBLICAN IN
PERU

ART
CUSTOMIST
INDIGENIST
Art in 19th century Peru did
not make radical changes
after independence from REPRESENTATION OF

Spain, little by little it THEMES OF LIMA OF OLD

TIMES, TRADITIONS,
STYLE ART
ACADEMIC, SCHOOL
CURRENT WITH THEMES OF

changed, shedding centuries
of influence of Spanish art.
ACTIVITIES, AND CUSTOMS ART 1ST AS WITH STUDIES ANDEAN WORLD. THE ISSUE OF
REVALUATION EUR OPACON THEMATIC
IN ART SCHOOLS. USE
SYMBOLIC,
OF CANONS OF THE INDIGENOUS
MAN SUBREALIST AND

ABSTRACT.

PANCHO FIERRO
JOSE SABOGAL
IGNACI CARLOS QUISPEZ ASIN
JUAN MAURICIO O
JULIA CODESIDO
RICARDO GRAU
RUGENDAS (1802 MERINO ENRIQUE CAMINO B
1858,
LIAS
MONTE
RO
TEOFI
LO
DAMEL
CASTI
HERNANDE
LLOZ
 CUSTOM ART

REPRESENTATION OF THE
LIMA CUSTOM
YESTERDAY (ACTIVITIES
ECO NOT MY CAS, FESTIVES,
TRADITIONS)

PANCHO FIERRO (1809-1879)

This mulatto watercolor

painter
Lima is also known for
express prints
customs,
JUAN MAURICIO RUGENDAS
(1802-1858)

German, specialized in oil

paintings and
watercolors, was in Lima
between
December 1842, until June
1844.
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 ACADEMIC ART

ACADEMIC, SCHOOL STYLE ART .

ARTISTS WITH STUDIES IN ART SCHOOLS
USE OF CANONS NEW REPURED, ACADEMIC
AESTHETIC, COVERED WITH THE MOST
ADJUSTED AND SUBTLE CANONS OF
CLASSICISM
SAN JUAN BAUTISTA PRIVATE UNIVERSITY
ARCHITECTURE
Between the 18th and 19th centuries, Baroque as a basic style disappeared. Thus,
architecture tends more towards the linear and precise. Through the neoclassical
architectural language, the ideals of modernization are sought, leaving the colonial
ones behind. This influence managed to survive until the end of the 19th century. The
most prominent architects who arrived in the capital in that period were Maximiliano
Mimey, Miguel Trefogli and Domingo García. In 1876, together with Eduardo Habich,
they would be the creators of the School of Engineers.

During the recovery, after the War with Chile, architecture and urban expansion
showed deeper transformations. By 1895, French influence had noticeably displaced
Hispanic influence. The best example of this change is the Lima Post and Telegraph
House (1897). Likewise, the 19th century brought with it the predominance of civil
architecture. In the first part of the 19th century, the Penitentiary or Panopticon (1860),
by Maximiliano Mimey, stood out; the Dos de Mayo Hospital (1868-1875), designed by
Trefogli and Mateo Graziani (built by the Beneficiary Society); the Exhibition Palace
(1872), by Antonio Leonardi, Luis Sada and Manuel A. Sources.

In the second half of the 19th century, with a marked influence of French beaux art ,
the construction of the San Fernando Faculty of Medicine and two works by Emile
Robert stood out: the Crypt of the Heroes (1907) and the original design of the
Legislative Palace ( 1908). Both were completed by Ricardo Malachowski and Gonzalo
Panizo in 1920.
SAN JUAN BAUTISTA PRIVATE UNIVERSITY
 together, one
Paired next to the
columns your "retH
"22: other, and
I Ite II n'rm I n mme Ut

placed in the
• In construction, same plane.
paired columns are National club (1829)
known as the French academic
composition or AeI

architectural
resource that
consists of
presenting two
identical columns

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Portico
• A portico is a
covered
architectural
space, made up of
a gallery of
columns attached
to a building. A
portico is a gallery
of arches or
columns around a
patio or plaza, or
in front of a
building.
Post Office House
(1897) - The House of
Gastronomy
Peruvian (2011) -
Neo-Renaissance

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Portico Zela – Plaza
San Martin (1926)
Neobaroque
SAN JUAN BAUTISTA PRIVATE UNIVERSITY
Pumacahua Portico – Plaza San Martin
(1926)
Neobaroque
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Neoclassic
• Artistic and literary
movement that is
characterized by
recovering the norms and
tastes of classical Greek
and Latin antiquity,
considered a reflection of
rationality, sobriety and
clarity (aesthetics,
simplicity and symmetry).
Exhibition Palace (1872) –
Art Museum (1961)
Neoclassic

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French
academic
(BeauxArts)
• On the one hand, he
established a language that
made reference to other
periods, such as French
Neoclassism, Gothic and
Renaissance, but on the
other hand, he used
modern materials in his
works, such as glass and
iron. Colon Theater
(1914) French
academic SAN JUAN BAUTISTA PRIVATE UNIVERSITY
French
academic
(BeauxArts)
Grand Bolívar Hotel
(1924)
French academic

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Neo-
Peruvian

School of fine arts (1924)

Neo-Peruvian

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 PAINT
IN
REPUBLICAN ART
The four great periods that occur in
republican painting are:
• Costumbrista Painting.
• Academic Painting.
• Indigenous Painting.
❖ Contemporary Painting
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ACADEMIC PAINTING

At the beginning of the republic, the colony's craft workshops still existed. Those who previously dedicated themselves to religious painting now had to fulfill commissions for portraits and minor works.

From portraying viceroys and courtiers, they moved on to soldiers and rulers. One of the most prominent painters of the 19th century was José Gil de Castro. Most of the painters born at the beginning

of the 19th century were trained in Europe; This allowed them to acquire new techniques, achieving the incorporation of European patterns in their works. Romantic neoclassicism and realism marked

the pictorial production of this century.

There was also a group of artists considered self-taught, whose main exponents were Ignacio Merino, Francisco Lazo and Luis Montero. In the second half of the 19th century, Federico del Campo,

Francisco Masías, Carlos Jiménez, Abelardo Álvarez Calderón, Rebeca Oquendo and Alberto Lynch stood out. Daniel Hernández (1856-1932) was one of the most important artists of the time and also

served as director of the National School of Fine Arts, from 1918 until his death.

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POPULAR PAINTING

With the end of the colony, and consequently of ecclesiastical art, what were previously religious painting workshops, had to dedicate themselves to simpler forms of pictorial decoration: posters for

bullfights, shop signs, mural decoration of houses and gardens. , etc. From there came artists who, although they never received academic training, managed to develop a work of great importance.

Among the most notable are Pancho Fierro, who develops distinctly Peruvian themes in his watercolors. His work, inscribed in costumbrismo, managed to reflect, through irony, satire and simple

description, a search for identity. Popular art was infused with artists who, like Pancho Fierro, managed to imprint in a peculiar way the customs and history of that new republican city.

Rural areas were also a subject of interest for painters. One of those who stood out the most in this aspect was Tadeo Escalante.

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Posthumous portrait made at the request of
Ricardo Palma in 1888, by the Quito painter,
based in Lima, Nicolás Palas.
It is located in the Lima Art Museum; In 1986,
a photograph taken of this artist in 1870 in the
Courret Hnos Studio was discovered.
Francisco Fierro 1807?-1879
Self-taught painter. freed mulatto, born and died in Lima, known
as Pancho Fierro. Recognized as a famous watercolorist, son of
Don Nicolás Mariano Rodríguez de Fierro y Robilla and Carmen
Palas.
There are many controversies about the exact year of his birth:
The World Almanac and Ricardo Palma record it in 1803; Ugarte
Eléspuru in 1806; Villacorta Paredes and Carlos Rodríguez
Saavedra, in 1810; for Teodoro Núñez Ureta in 1809, and later
he said that “... he was born at the end of 1807; who was
baptized at sixteen months old, in 1809; "who married at the
age of 21 in 1828 and who died at the age of 71..." It is possible
that his wife's statements regarding his age were wrong since if
he was born at the end of 1807 and died in July 1879, it is most
likely that he was 71 years old and not 70 according to his
statements for the death certificate. Juan de Contreras, Marquis
of Lozoya, in his History of Spanish and Hispanic American Art,
gives as Pancho Fierro's wife a Carmen Varas or Palas,
(actually the last name of one of his three children). Fierro
married Gervasia Cornejo and had three children: two girls and
a boy who died as a soldier.
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His painting, traditionalist par excellence,
denotes a notable capacity for observation
and ease in his strokes. His personality has
unique relevance in the Peruvian artistic and
historical process.

Pancho Fierro has always been considered

the illustrator of customs and types of
colonial and republican Lima.

Thanks to its prints, customs of ancient Lima

are preserved with its dances,
proclamations, bulls, tapas, friars, nuns and
an endless number of period characters.

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Being illiterate, the legends or titles of the works were written by Agustín de la Rosa Toro and Ricardo Palma, who made the annotation of the series,
dated 1840, titled: In Amancaes: zamacueca; decent zamacueca; stormier zamacueca; a kind of minuet mixed with music from the Peruvian black
creoles.
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With the title of Exotic America: Panoramic, Types and Customs of the 19th Century, his paintings and those of
the artists representing costumbrista art from the collections of the Central Banks of Peru, Colombia, Ecuador, Mexico and Venezuela were
showcased, Sala de la Luis Ángel Arango Library of the Bank of the Republic of Colombia, 2004-2005.

In honor of him, the Municipal Art Gallery of Lima bears his name; This institution has 254 watercolors and drawings by Pancho Fierro and his
followers: Carlos Rojas Cañas (1830-ca.1890), Juan Vallés (1860-1895), and Enrique Lazarte (1880-1900), which do not appear individually in this
dictionary. . Ricardo Palma classified Pancho Fierro's watercolors into two albums that he titled Lima, Tipos y Costumbres, where he also included
some works by his aforementioned followers.
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8. -%e-
0.230)
(Piura, 1817-Paris,
1876) Peruvian painter,
influenced by the 10 MERINO
French romantic
school, he made
watercolors and
drawings with a
romantic tone,
inspired by themes
from the past, he is the
author of a series of
compositions with
popular Peruvian
themes

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 JOSE GIL DE CASTRO
(1785/1841)
H OW TO CAPTURE THE HUMAN ESSENCE, WORKING WITH EACH

BOX WITH E IAL CLEANLINESS AND KNOWN

THOROUGHNESS. AS THE PAINTER OF THE LIBERATORS, GIL
DE CASTRO WAS NOT ONLY A PAINTER OF TRANSITION
BETWEEN THE COLONY AND THE REPUBLIC, HE WAS AN
EXCELLENT INITIATOR OF OUR PAINTING REPUBLIC, NA. IT
HAS A STYLE
COLORFUL, SOMETHING RIGID BUT GOOD LINE IN THE DRAWING AND AN
EXPRESSIVE QUALITY.

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HIS WORK:

* PORTRAIT OF SIMÓN BO LÍVAR.

* FRANCISCO DE PAULA OTERO.
* ISABEL RIQUELME .
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LUIS MONTERO
ROSAS

• Plays:
Old
The sleeping Venus
The prayer
The artist and his model
President Ramón Castilla. (portrait)
The flirtatious Magdalena
penitent
The slaughter of the innocent
SAN JUAN BAUTISTA PRIVATE UNIVERSITY
 LUIS MONTERO
• 1826-186
• One of the first artists to travel to Europe
• Author of the funeral of Atahualpa, the
first Peruvian painting with a historical
theme.

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 INDIGENOUS PAINTING (1920-1960)

• Origin: When some artists return to their land, saturated with nostalgia and
carrying a message of love for their loved ones, indigenous painting emerges,
eager for local emotion, eager to enjoy and transmit the thematic, formal and
chromatic beauty of our towns and our types. A series of political and social
transformations were beginning to take place in our environment.
• Concept: in short, the human aspect and the expressionist feeling of
indigenism, expressed in images of virtuous lines with strong texture, thick
impasto, abstract conception of rich color and great compositional mastery,
aesthetics act

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REPRESENTATIVE ARTISTS
JOSE ARNALDO SABOGAL DIEGUEZ (1888-1956)

Notable Peruvian painter; creator of the so-called "indigenist"

movement that brought together a group of talented artists, all of
them determined to exalt the Andean roots of our people. He was
born in Cajabamba, province of the department of Cajamarca, on
March 19 , 1888 and died in Lima, on December 15, 1956. Very
young, he traveled to Europe, settling for a time in Rome, around
1908, and visited the large cities of the old continent and some
cities in Africa, acquiring
in all of them beneficial
experiences that enrich their cultural heritage. Returning to America, he settled in Jujuy,
Argentina, between 1913 and 1918, working as a drawing teacher. It is in this city where he meets
the traditional painter Jorge Bermúdez, a passionate defender of the rural environment who,
without a doubt, influences Sabogal to decide to start a movement that his detractors call
"indigenist."

Towards the end of 1918, Sabogal settled in Cuzco, working incessantly, and in 1919 he
returned to Lima, presenting himself in an individual exhibition in the halls of the "Brandes"
house, causing admiration among connoisseurs, who saw the new form emerge. to interpret the
Peruvian reality, through simple painting and vigorous strokes; It is - they say - the most serious
effort that has been made in Peru towards the creation of national pictorial art. In 1922 he
exhibited in Mexico, then in Montevideo and Buenos Aires. In August 1931, he was invited by the
National University of San Marcos in Lima to open the cycle of artistic exhibitions of the
Department of Cultural Extension, led by the award-winning writer Luis Alberto Sánchez. There,
among other works, he exhibits the portrait of Enrique Camino Brent.

In 1920, Sabogal entered the National School of Fine Arts as a professor, remaining in the
position until October 1932, when he assumed its direction, replacing teacher Daniel Hernández,
who recently died. He remained in this high position until 1943, when he left voluntarily due to
administrative discrepancies. Sabogal, from that platform knew how to revalue among his
students the love for the expressions of our folklore, forming a group of select followers of his
principles among which are artists of the stature of Vinatea Reinoso, Camilo Blas, Julia Codesido,
Enrique Camino Brent, Teresa Carvallo and others.
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The recruit, 1926. Oil on canvas. 60x60cm. La Santusa, 1928. Oil on canvas
The recruit, 1926. Oil on canvas. 60x60cm. adhered to ordex ; 65 x 56 cm.

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He not only illustrated Amauta, but also various books (among them the collection of poems Así ha
cantado la Naturaleza, by Daniel Ruzo). César Lévano summarizes in an article that Sabogal “renewed not
only painting, but also Peruvian graphic arts. ［ … ］ Sabogal was the creator of a type of Peruvian book
［ … ］ The drawing of the titles, the frames and capital letters, the appropriate margin, the imaginative
colophon, the pen or wood engravings.” The artist also did woodcut and mural work (the dome of the
Panteón de los Próceres and the Cusco Tourist Hotel).

In the 1930s he was appointed director of the National School of Fine Arts. He spent a decade in charge of
the development of Peruvian plastic arts until 1943, and 24 months later he founded the Institute of
Peruvian Art, of which he was director.

Artists who are related to the indigenous movement develop there, such as Julia Codesido, Jorge Vinatea
Reynoso, Camino Brent and others. There was empathy with them to develop a movement “that sought to
install the national theme as an authentic national expression,” wrote the art critic Élida Román.

Sabogal was a lighthouse. From the institute he promoted the study of the country's popular arts and,
between 1945 and 1956, he published five fundamental books on Pancho Fierro, mate burilado, kero or
Peruvian imagery.

During a tribute offered to him by intellectuals in Lima, in 1943, Sabogal said about indigenism: “But yes,
we are indigenists in the true meaning of the word, and even more so, cultural indigenists, since we seek
our integral identity with our soil, his humanity and his time.”

Sabogal's work sought to separate himself from Hispanic influence, not deny his ancestry. "But we must
separate ourselves from it, in pursuit of achieving an authentic work, first national, then American and,
finally, universal."

Sabogal was not only an inspiration for painters, but also for storytellers such as José María Arguedas
and Ciro Alegría, musicians and architects.

“Almost all Peruvian painting with a localist intention is derived, in one way or another, from the example
and ideas of Sabogal, who understood in his art, as Basadre has written, 'Peru in its historical,
geographical and ethnic variety'” says Milla Batres.
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1927 with drawings by
Sabogal.

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RICARDO FLÓREZGUTIÉRREZ
DEQUINTANILLA
(1893-1983)

Plays:
• Mariacha
• On the shores of Huallaga
• Cover of the Trujillo hacienda
• Landscape of Huánuco
• cane road
• Black Brotherhood
• The tomayquichuina
• Armatanga panorama
• Tomayquichua street, among

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others.
 SCULPTURE IN THE REPUBLICAN
PERIOD

With independence there was a change in sculptural art. The monuments sought to represent modernity and progress, and externalized national

development. The state sponsored the remodeling of the Acho and Los Descalzos malls, Las Plazas de Armas and Bolivar, among others.

In 1859 the sculpture of Simón Bolivar was inaugurated in the Plaza de la Inquisición, in 1860 the monument to Columbus in the Alameda de Acho

and in 1865, the sculpture of José Olaya in he Pier of Chorrillos.

The taste for new monuments spread to the provinces. No less important was the construction and decoration of mausoleums, the best examples of

which are found in the Presbitero Maestro cemetery.

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 ARTEMIO OCAÑA BEJARANO (1893-1980) ANCASHINO.
The monument to Francisco Bolognesi (1954). Three tons of artillery shell casings were used in
the six-meter bronze work. This time the statue
showed a Bolognesi "triumphant and with a flag in
one hand raised while the other

He holds a revolver." The inauguration took place

on

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 MUSIC
REPUBLICAN
The music classes in the
Republican era are:

Andean Music
Creole Music
Afro Peruvian Music
Academic Music
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• ANDEAN MUSIC
> IT IS ALSO CALLED “IN DÍG ENA” MUSIC.

> DESCENDED FROM THE INCA AND PRE-INCA CULTURES.

> THE MOST CHARACTERISTIC ELEMENTS BASICALLY COME FROM THE

ANCESTRAL PEOPLE INHABITANTS OF ANCIENT PERU.

> PERUVIAN STATE OFFICIALIZED JUNE 15 AS “NANDINE SONG DAY” IN

THE YEAR 2 0 0 6.

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 • CRI OLLA MUSIC
WITH THE PO CAREPUBLIC NA CE CREOLE MUSIC WAS BORN
INFLUENCED BY HE
FRENCHING OF THE MINUET, HE WAL TZ
VIEN ÉS, LAMASUR CA POLA CA, LAJ OTA ESPA Ñ O LA AND THE MESTIZA
EXPRESSIONS OF LACOS TA CENTRA L.

PAINT 16
IN REPUBLICAN ART 16
• ANDEAN MUSIC 41
• CRI OLLA MUSIC 42
• FELIPE PINGLO 46
OLD GUARD 47
THE LITERATURE REPUBLICAN 48

BEGIN TO SEE L IMA HOW L IMA NATIONS IT.

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AFRO PERUVIAN MUSIC

> THE EMBLEMATIC INSTRUMENT OF BLACK MUSIC IN PERU IS THE CAJÓN

> RHYTHMS DERIVED FROM AFRICAN MUSIC SUCH AS THE FESTEJO OR

THE LANDÓ ARE COMMON AMONG THE BLACK COMMUNITIES OF THE
SOUTHERN COAST OF PERU (LIMA, CAÑETE, CHINCHA, PISCO, ICA AND
NAZCA).

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 LATE ROMANTIC AND POST-ROMANTIC. PERU POSSESSED
DURING THE COL PERIOD . ONIAL A GREAT MUSICAL ACTIVITY, WITH
ACADEMIC MUSIC
IMPORTANT CENTERS IN THE CITY OF LOS REYES (LIMA), CUSCO AND
POTOSÍ.

> THE OPERA HAD A GREAT BOOM SINCE 1808 IN LIMA. IN THE CAST OF
BOLOGNESI, THE SOPRANO ROSA MERINO PERFORMED, WHO
PREMIERED THE NATIONAL ANTHEM OF PERU IN 1821. PERU HAD
DURING THE COLONIAL PERIOD A GREAT MUSICAL ACTIVITY, WITH
IMPORTANT CENTERS IN THE CITY OF KINGS (LIMA), CUSCO AND
POTOSÍ.

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SAN JUAN BAUTISTA PRIVATE UNIVERSITY
 • FELIPE PINGLO
FELI PE PING LO ALSO ACQUAINTANCE AS "HE BARD
IMMORTAL", WAS A OUTSTANDING COMPOSER YM Ú YES CO
PERUVIAN, CONSIDERED ONE OF THE MAXIMUM EXPONENT EN
OF CRIOL MUSIC WHIC OWNER OF A STYLE OF WIDE COLLECTION
ARRAI GO POPULAR H ENR QUECIÓ HE MUSICAL
PERUVIAN EIT IT IS ALSO N KNOW DO INTE RNACIONALM ENT EIBY
BE HE HEAUTHOR OF VA LS « E PLEB EY O "LET IT BE A CAP,AZ OF
REUN GO R. IN LET R.A. MUSIC, NMELODY POEM, TODO I LO
THAT IT MEANS TH SONG POPULAR NA DEL PERU,
LA R SPONSORED E ALWAYS BE: " HE WHO AS
FEL IPE CA (WHAT FAILED THE 13 MAY FROM 1 9 3 6) WAS
PAZ OF PROMOTE, ARTICLE AI AND ORGANIZE IN
DISORDERED WILL, CHAPTER DEFIN THORIUM THE
CRIOL LA SONG, HAS NOT I RECEIVE. HOW MANY SONGS
VAL SES YPOLKAS -, US HA LEAVE DO THIS SO TROUBATOR
OF BARRI OS CA ALT OS. CAD TO A COM OR THE TESTIMONY OF A NA
É PO QUE UANA, WENT AND ES OF BE I THE MULTIPLE
PER OF THEIR WIS IS STOCKS:
MEN YOUR WOMEN, A THE WHICH IS SUP E. H NINTERPRET IN
THEMES, I SAY GO BETTER THAN NADI THANK YOU TO PING LO PODEMOS DEL
WITH PRIDE WHAT HE P ERÚ IS ALSO ANDEAN, HUAY NO QUE UE
REPRESENTS AND MEANS IT IT HAS CREOLE. I COST IT, IT
URBAN, WHAT IS THE SONG

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OLD GUARD
THE VALS PERUVIAN EIT V ALS CRIOL LO IS NG É NE RO
MUSI CA L ORIGINATED HE LP ERÚ DENT RO GENDER OF
TH MUSIC CRIOL LA R AND AFRICAN PERUVIAN, OR THAT SE
DEVELOPMENT
E IN LI MA THEIN AN IN GREAT PART OFOF THE COAST
PERUVIAN, IN CENTURIES D X IX YX X. THE
YO
SET MUSIC PE RUANA ALL THE PANCHITO
U
HAS BEEN PARTY C.R IMERA POT WHAT FORMED: TIMES
JIM E N EZ IN THE .PR VOICE AND VOICE, HUMBER TO
CERVANTES ACCORDI GIVE GUITAR, Oscar
NG TO
FIRST RA GUITAR, PED RI TO S TOWERS VERI GA IN THE
CASTAÑ MY UELAS AND AR Í STID ES RAM Í R EZ EN I LCAJ Ó N; SO
HOLY HE BETTER NON-CRIOLLO MASCULI RIO TRIOT HAS BEEN " THE
CACIQU IN IS INTEGRATED BY OSCAR "PAJAR "ITO"
THE RA V OZ, RAFA THE AMA RANTO E N LA
AND CASSARETTO "SPALTFACE" IN THE
VOIC GUITAR. THE LATEST VALSE
E ENTER PIER THE MHISTORY ASPECTS OF
USTRAV HE
VI DA REPUBLICAN. S PRETEND A
RSION FINISHED ABOUT THE TEM A, MANU EL ACOSTA -U EIT
OF THE MORE FIN OS COMPOSERS CREOLE- HUR GA HE
HE TIME PO FOR ARA REBUILD AND BIRTH OF R
PERUVIAN SONG. IN
TH
E

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 THE
LITERATURE
REPUBLICA
N
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CUSTOMS
CUSTOMS OF THE VILLAGES TO
CELEBRATE THEM

MAIN MANAGERS :
FELIPE PARDO YALIAGA
MANUEL ASCENCIOSEGURA

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ROMANTICISM
THE TEXTS WERE GENERALLY
ARTIFICIAL
MAIN REPRESENTATIVES :
RICARDO PALMA, CARLOS
AUGUSTO SALAVERRY.
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 SAINT JOHN BAPTIST
PRIVATE UNIVERSITY

PRIVATE •
SAINT JOHN
BAPTIST