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In the 18th century the monarchies had imposed Neoclassicism on their main Latin American colonies in order to connect them to Europe and support the ruling establishment.After the wars of independence, however, this relationship became complicated.From 1831 to 1834 he lived in Mexico, and he then settled in Chile from 1834 to 1845, when he also painted in Argentina and Peru.Rugendas was unique in moving from one country to another but similar to other European artists in his search for the striking, the asymmetrical, the sublime, and the beautiful in Latin America.In addition, his painterly brushstroke, dynamic composition, and bright colours strongly recall the Romantic style that was then popular in European painting, where it was best exemplified by his acquaintance the French painter Eugène Delacroix.Rugendas’s sketchy, painterly style embodies the true spirit of the Romantic movement most clearly in his small oil sketches in preparation for major canvases, few of which were executed.

Each of these artists presented a sharp, clear-eyed view of their homeland, with backgrounds abstractly simplified to direct the viewer’s attention only to their human subjects.In these works human faces had recognizable portrait details, and clothing was accurate to the period.Natural environments were often more generalized (unless they were in fact the subject matter).These artists rendered historical scenes such as battles from a normal human vantage point, with little rhetorical emphasis through either size or lighting.In accordance with Neoclassical tenets, figures in such scenes were small and subordinate to the dominant horizontals of the land and the architecture; lighting was usually even, almost flat; and the depiction of details was realistic, often with a clearly recognizable local character.Between 18 all of Spanish and Portuguese America—except Cuba and Puerto Rico—became free from Iberian rule.In the years after liberation, Latin American artists would explore both their own indigenous traditions and those inherited from Europe, eventually creating an influential and distinctive Latin American art.Neoclassicism continued to be propagated by some government-run academies, although the style was often used to depict indigenous themes.For example, the Spaniards who had run the Academy of San Carlos in Mexico City had either died or returned to their native land during the war of independence.Low-relief bronze plaques by different sculptors were inserted into the base to represent historical scenes of the time of the conquest, from the arrival of the Spaniards to the torture of Cuauhtémoc.Similarly, the Catalan artist Manuel Vilar inaugurated an interest in indigenous themes in his sculptures of Indian leaders such as Tlahuicol, whom he portrayed in plaster in 1851, using an overly muscular style reminiscent of the Hellenistic Greek Laocoön group.

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