This article by Juan Acha addresses the relationship between nationalism and painting. To the writer, Peruvianized painting is usually identified by its iconography. In this regard, he acknowledges that “[d]esde un punto de vista estético-sociológico, el tema no carece de interés” [in terms of aesthetics and sociology, nationalism is a theme that is not without interest]. However, he notes the need to define its limits by tamping down the exterior elements that characterize the medium. In Peru, lo nacional [what is national], as a theme, would have represented an indispensable, though insufficient effort, since “[l]a iconografía debe ser la urdimbre donde se tejen las constantes, las búsquedas y las creaciones pictóricas” [iconography must be the warp through which we weave the constant factors, our searches and our pictorial creations]. He believes that authentic art must fit lo nacional into pictorial terms, a practice that would be adopted in the work of Jorge Vinatea Reinoso. Nevertheless, he also points out the error of “expresionismo subjetivo” [subjective expressionism], which “toma la iconografía como símbolo de aquella interioridad nuestra que tenga vigencia universal, para conseguir validez estética” [takes iconography as a symbol of our internal lives, according it universality and thus deeming it the source of aesthetic validity].