Pedro Lira (1846-1912) divided his career between producing noted paintings and working to increase the profile and quality of fine arts in Chile. He was of comfortable background, allowing him to study at Santiago's Instituto Nacional and, at age 16, enroll in the Academia de Pintura, then under the direction of Italian Alejandro Cicarelli. In addition to studying painting, he also took a degree in law at the National University (completed in 1867 or 1869, depending on the source consulted). With his law degree finished, he took up painting as a full-time profession. In 1865, he had begun training under Antonio Smith, a landscape artist who had left the Academia de Pintura because of disagreements with the classical training promoted there. Under the influence of Smith, Lira passed through his first stage of romantic paintings, mostly seen in his landscapes. Lira was among those young artists whose work brought attention to local talent at the 1872 National Exhibition. In 1873, he travelled to Paris to continue his artistic studies, with his wife Elena Orrego Luco and his brother-in-law and friend Alberto Orrego Luco. Lira remained in Paris until 1884, training in academic art and producing works on both historical and mythological themes.

Upon returning to Chile in 1884, he began to promote local artistic production: founding the Unión Artística with the sculptor José Miguel Blanco; organizing the first 'Chilean' art exhibition and becoming well known as a critic. Working through the Unión Artística, Lira secured government support and put up some of his personal funds to open the permanent home of the Museo de Pintura, in the Quinta Normal de Agricultura. He was also appointed to the Comisión de Bellas Artes, which ran the museum and sponsored the annual Santiago Salons. Additionally, he translated foreign-language works on art history and wrote a Diccionario Biográfico de Pintores (1902). In 1892 he was named director of the Escuela de Bellas Artes (former Academia de Pintura) and held the position until his death, becoming the first Chilean to direct the institution and an important influence on Chilean painters. At this point, his paintings began to address contemporary concerns, through social realism, as seen in 'El Niño Enfermo'.

'El Niño Enfermo'; Lira, Pedro

'La Fundación de Santiago'; Lira, Pedro

Bibliography

• Rodríguez Villegas, Hernán. 1992. 'Exposiciones de Arte en Santiago 1843-1887', in: Fundación Mario Góngora, Formas de Sociabilidad en Chile, 1840-1940, Santiago, Editorial Vivaria: 279-314.

• Icarito Enciclopedia Escolar. Uno de los grandes de la pintura chilena Pedro Lira: 1845-1912 . 'http://icarito.tercera.cl/biografias/1891-1925/bios/lira.htm'
• Lira, Pedro (1845-1912) 'http://www.puc.cl/faba/ARTE/AUTORES/Lira.html'

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