Abstract
The formation of a canonical landscape helps the state to consolidate the symbolic unification of diversity. Through the 1920s the notion of a distinctive national landscape is formed for the first time in Uruguay alongside the expansion of image reproduction technologies and new directions in geographic studies. This article examines the relationship between territorial identity and landscape within the framework of the commemorative celebrations of the first centenary of national independence, starting with photographs and paintings reproduced in the Libro del centenario uruguayo (Uruguay Centenary Book, 1926). Analyses of this graphic material account for two different, though not necessarily exclusive, ways of looking at a landscape: one which projects it toward the future and another which secures it in its historical value. These two perspectives correspond to rival political projects whose discrepancies remained echoed in dissimilar commemorative initiatives. This article will address the functions of landscape, its process of formation, meaning and representation in the graphic Uruguayan album from a multidisciplinary perspective that includes analytical theories derived mainly from art history and cultural geography.
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