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The positions of Peruvian intellectuals and artists upon the monument to Colonel Francisco Bolognesi are presented in two contexts separated for nearly half a century: the inauguration in 1905 and the replacement of the statue of the hero in 1954. The aim is to understand how the change of sen57 Rafael Dias Scarelli RIRA vol. 5, n° 1 (mayo 2020) pp. 55-110 / ISSN: 2415-5896 sibility from martyr to victorious hero was developed with respect to the colonel of Arica, which legitimized the substitution of the sculptural work. It is proposed that the image of hero-martyr represented in the first sculpture had already became unwanted in the middle of the last century, because of the definition of the “captive” provinces of Tacna and Arica dispute, the Peruvian military triumph against Ecuador (1941) and the promotion of Bolognesi as a patron of the Peruvian Army. In addition, the widespread thesis that there was an “primitive project” for the monument, by the Catalan sculptor Agustín Querol, which did not materialize due to the intervention of the organising committee of the competition, is refuted. An interpretation is sought regarding the emergence and dissemination of the “primitive project” in the light of the context of the 1950s, when an attempt was made to disqualify the sculpture made by Querol.

revista del instituto riva-agüero/revista del instituto riva-agüero

De héroe mártir a héroe victorioso: intelectuales peruanos frente al monumento de Francisco Bolognesi y la tesis de un proyecto primitivo para el monumento