Papers by Natalia Keller
Destroy the Copy - Plaster Cast Collectionss in the 19th-20th Centuries. Demolition, Defacement, Disposal in Europe and Beyond, 2022
Published in the conference proceedings "Destroy the Copy - Plaster Cast Collectionss in the 19th... more Published in the conference proceedings "Destroy the Copy - Plaster Cast Collectionss in the 19th-20th Centuries. Demolition, Defacement, Disposal in Europe and Beyond", edited by Annetta Alexandridis and Lorenz Winkler-Horacek, Berlin: De Gruyter, 2022, pp. 52-76
The plaster casts and other replicas of classical, early modern, and neoclassical sculptures that were brought from Europe to Santiago de Chile around 1900 initially constituted a vast collection of more than 550 pieces. The shipment included, among others, reproductions of famous classical and modern statues, reliefs, architectural ornaments, and decorative art. The collection was intended to inspire artists, to promote the development of the national art scene, and to offer the general public a pedagogical introduction to good taste. The construction of a new building for the Museum and Academy of Fine Arts in 1910 that was supposed to house the collection indicates its significance at the time. Nevertheless, today less than ten percent of those works remain in the museumthe rest are scattered among other institutions, were destroyed during earthquakes, stolen, or otherwise lost during the past century.
Emotions, Art, and Christianity in the Transatlantic World, 1450-1800, 2021
Published in "Emotions, Art, and Christianity in the Transatlantic World, 1450-1800", edited by H... more Published in "Emotions, Art, and Christianity in the Transatlantic World, 1450-1800", edited by Heather Graham and Lauren Kilroy-Ewbank, Leiden-Boston: Brill, 2021, pp. 280-305
Print Quarterly, 2019
The article points out that the changes in the first edition of Francisco Goya’s print series Dis... more The article points out that the changes in the first edition of Francisco Goya’s print series Disasters of War made by the Royal Academy in 1863 have had lasting consequences. The changes to two titles introduced between the handwritten caption on the artist’s proofs from the so called Céan Bermúdez album and their engraved versions in the Royal Academy’s first edition of the series are discussed here. In the case of plate 69, the reasons for the title change are recalled, while for plate 36 an explanation and interpretation of the original handwritten title is proposed that has been overlooked in Goya studies. Finally, an unknown impression of that print is introduced, with the engraved title in its initial state before correction.
Published in Print Quarterly XXXV (2018): 280-293
Print Quarterly, 2018
The paper presents seven unknown proofs of first states of prints from the series "Circus" by Ott... more The paper presents seven unknown proofs of first states of prints from the series "Circus" by Otto Dix belonging to the collection of the National Museum of Fine Arts in Santiago de Chile. New information on the collection of Max Roesberg is also adduced.
Published in Print Quarterly XXXV (2018): 280-293
Exhibition catalogues by Natalia Keller
Comentarios de obras en el catálogo de exposición "(en)clave Masculino. Colección MNBA 2016", San... more Comentarios de obras en el catálogo de exposición "(en)clave Masculino. Colección MNBA 2016", Santiago, 2016
Texto en el catálogo de la exposición "Tránsitos. Colección de Esculturas MNBA", Santiago, 2016, ... more Texto en el catálogo de la exposición "Tránsitos. Colección de Esculturas MNBA", Santiago, 2016, pp. 24-31
Catálogo de la exposición "Codice Bonola. Dibujos italianos de los siglos XVI y XVII. Colección M... more Catálogo de la exposición "Codice Bonola. Dibujos italianos de los siglos XVI y XVII. Colección MNBA"; 22 June-21 August 2016, Santiago de Chile
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Papers by Natalia Keller
The plaster casts and other replicas of classical, early modern, and neoclassical sculptures that were brought from Europe to Santiago de Chile around 1900 initially constituted a vast collection of more than 550 pieces. The shipment included, among others, reproductions of famous classical and modern statues, reliefs, architectural ornaments, and decorative art. The collection was intended to inspire artists, to promote the development of the national art scene, and to offer the general public a pedagogical introduction to good taste. The construction of a new building for the Museum and Academy of Fine Arts in 1910 that was supposed to house the collection indicates its significance at the time. Nevertheless, today less than ten percent of those works remain in the museumthe rest are scattered among other institutions, were destroyed during earthquakes, stolen, or otherwise lost during the past century.
Published in Print Quarterly XXXV (2018): 280-293
Published in Print Quarterly XXXV (2018): 280-293
Exhibition catalogues by Natalia Keller
The plaster casts and other replicas of classical, early modern, and neoclassical sculptures that were brought from Europe to Santiago de Chile around 1900 initially constituted a vast collection of more than 550 pieces. The shipment included, among others, reproductions of famous classical and modern statues, reliefs, architectural ornaments, and decorative art. The collection was intended to inspire artists, to promote the development of the national art scene, and to offer the general public a pedagogical introduction to good taste. The construction of a new building for the Museum and Academy of Fine Arts in 1910 that was supposed to house the collection indicates its significance at the time. Nevertheless, today less than ten percent of those works remain in the museumthe rest are scattered among other institutions, were destroyed during earthquakes, stolen, or otherwise lost during the past century.
Published in Print Quarterly XXXV (2018): 280-293
Published in Print Quarterly XXXV (2018): 280-293