"Del Círculo de Bellas Artes". Revista Movimiento : Órgano Oficial de la Confederación de Trabajadores Intelectuales de Uruguay (Montevideo, Uruguay), vol. 12 (March 1935): 4
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In this essay, the students at the Montevideo Círculo de Bellas Artes vilify the critical situation affecting the institution due to cuts in state subsidies. The publication Movimiento incited the students to fight for restoring quality in the artistic education and to be constant in the ongoing struggle against the “privileges of the bourgeoisie.” Movimiento was published in 1933 by the C.T.I.U. (Confederation of Intellectual Workers of Uruguay) due to the presence of [David Alfaro] Siqueiros in Montevideo the same year of its establishment.
On June 30, 1905, the Círculo Fomento de las Bellas Artes (C.F.B.A.) was established in Montevideo using the headquarters of the Uruguayan Industrial Union for the inaugural assembly. Decades later, in 1943, through the initiatives of the educational and administration departments of the C.F.B.A., the Escuela Nacional de Bellas Artes [National School of Fine Arts] is founded. The artist Carlos María Herrera (1875-1914) directed the school for eight years for the C.F.B.A. responding to the needs of artistic and technical development in the artistic industry, as well as construction, including carpentry, black and metalsmithing, plastering, technical drawing, and graphic advertising techniques, etc. The objective of the institution was the training of artists aligned with the aesthetic criteria of European modernism advocating through instruction to dispense with plaster models in favor of indigenous models: flora and fauna. The most significant period using this methodology was in the twenties under the instruction of artists Guillermo Laborde (1886-1940) and Domigo Bazurro (1886-1962), whose teachings were called the “planista” school when are was created based on landscape themes and portraits due to their formal and chromatic characteristics. This document exposes the discontent with the internal economic measures that the institution had been obliged to undertake, the subversion of the democratization of artistic education and its conversion to a privilege for only the wealthy classes. The students were incited to fight against the privileges of a social class that proved to be “unable to attach priority into resolving the demands of the populous existent at that time.”