Abstract
This paper analyzes the production of sculptures by Benjamin Mendizabal Vizcarra (1875-1957). In Lima, the critical assessment of his sculptures followed positivist ideologies that were opposed to his creative freedom. Originating from this controversy the research is divided into three topics: the critique of his Apollonian Incas, the vicissitudes of both his monumental project Manco Capac (1917), his bronze reliefs made in 1926, and the nominal difficulty of his incaists art works. Based on historical ethnographic studies with the idea of accomplishing verisimilitude in the arts, Mendizabal adapted his Apollonian interpretation of his Incaist sculptures towards a scientifical purification, the product of the influence of artistic critiques and the establishment response in Lima.
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