1. O Morro do Santo Antonio no Rio de Janeiro (The Hill of Santo Antonio in Rio de Janeiro) by Nicolas Antoine Taunay, c. 1816. With the arrival of the Portuguese Court to Brazil in 1808, the main source of artistic patronage changed from the Church to the State, and the content of paintings reflected this. Instead of the Baroque and Rococo religious paintings that previously dominated Brazilian art, the Court required Royal portraits, history paintings (official versions of important historical events), and ceremonial decoration. To fulfill these needs, a group of artists and engineers associated with the lnstitut de France were invited to Brazil. Known as the French Artistic Mission, they established the Imperial Academy of Fine Arts in Rio de Janeiro in 1826. This view of the city shows the monks of the Santo Antonio monastery looking out over the colonial buildings of the city. ln the background is Guanabara Bay and the city's most distinctive topographical feature: Pão de Açúcar, Sugar Loaf mountain.
Latin American and Iberian Institute / University of New Mexico
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