Museo universalista y nacional. El lugar del arte argentino en las primeras décadas de vida institucional del Museo Nacional de Bellas Artes de Buenos Aires
Palabras clave:
historia social del arte, Museos, arte argentino, Museo Nacional de Bellas Artes, mercado del arteResumen
Fundado en 1895 en base a donaciones de particulares, el MNBA no tuvo en su patrimonio inaugural un sitio de privilegio para las producciones nacionales. A lo largo de los primeros decenios de vida institucional, el arte argentino comenzó a ingresar a su acervo principalmente gracias a los premios y las compras en los Salones Nacionales pero también a través de donaciones de particulares y compras eventuales en una política de adquisiciones que podríamos caracterizar de inorgánica e inestable. Nos proponemos aquí centrarnos en las décadas que van desde la inauguración del MNBA en 1896 hasta su reapertura en 1933 en su sede definitiva, período en el que asistimos a la instalación del Salón Nacional y de los salones provinciales y municipales, para reconstruir críticamente cuáles fueron los artistas representados en su acervo, qué obras específicas fueron las seleccionadas y porqué vías ingresaron. Se ha sostenido frecuentemente que el MNBA fue menos propenso a recibir obras de vanguardia o de arte nuevo que los más dinámicos y recién constituidos museos de las provincias. Creemos que esta perspectiva merece ser contrastada con la historia concreta de las obras que efectivamente ingresadas y matizada a la luz de los proyectos de Museo que en la práctica el MNBA llevó adelante.
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