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Celia Castro (1860, Valparaíso - 19 June 1930, Valparaíso) was a Chilean visual artist. Her style is generally associated with Realism.

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Biography

Castro's artistic career was inspired from a meeting with the painter Manuel Antonio Caro who, after seeing her work, recommended she go to Santiago to study at the Academia de Pintura (es). She followed his advice and became a student of Pedro Lira.[1] Her first exhibition came in 1884, where she presented one of her best-known works, "Las Playeras" (Women on the Beach). In 1889, it won an award and was acquired by the Chilean National Museum of Fine Arts.

Thanks to this recognition, Castro was able to go to Paris to refine her technique. She was especially fond of painting the city's streets and corners. On her return, these new works prompted the government to give her a study grant and she went back to Europe in 1904.[1] She was the first woman to receive such a grant. During this visit, her brushwork became more precise. It was then she created her second best-known work, "La Poda" (The Pruning).

Castro eventually won praise from Parisian critics and exhibited frequently at the Salon. She returned to Chile in 1927 and died three years later,[1] having paved the way for other female artists such as Rebeca Matte, the Mira sisters, Aurora and Magdalena.

"La Poda" was later honored at a special exhibition at the University of Concepción, as part of an event relating to deforestation in Bío Bío.

References

Further reading

Wikimedia Commons has media related to Celia Castro.

• Ricardo Bindis, Pintura Chilena, Doscientos Años, Origo Ediciones, 2006 ISBN 956-8077-34-0

На других языках

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- [en] Celia Castro

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[es] Celia Castro

Celia Castro (Valparaíso, 1860 - Valparaiso, 19 de junio de 1930) fue la primera mujer en estudiar pintura profesional en Chile, se destaca por sus melancólicos registros de la realidad. Sus maestros le dieron una relevancia importante dentro del país, inesperada para una mujer de esa época; destacan entre sus maestros el pintor Pedro Lira. Chile la recuerda por ser una de las mujeres pioneras que, desafiando las convenciones sociales, se dedicó a desarrollar su talento artístico más allá del ámbito hogareño, superando a sus compañeros varones.[2] Junto con sus contemporáneas, las hermanas Aurora Mira y Magdalena Mira lograron obtener reconocimiento como reales pintoras, siendo Celia la primera mujer becada para su perfeccionamiento en Europa.

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