Parque Forestal is an urban park in the city of Santiago , Chile . The park was created on reclaimed land from the Mapocho River and is located in the historical downtown of Santiago, west of Plaza Baquedano and east of Estación Mapocho . It is bordered on the north by Santa María Avenue, on the south by Merced Street and Ismael Valdés Vergara Street. At its eastern end, the park becomes Balmaceda Park , forming an almost unbroken stretch of greenery along the Mapocho River.
22-766: The park contains the Chilean National Museum of Fine Arts , which is housed in the same building as the Santiago Museum of Contemporary Art . Palacio Bruna is opposite the park on Merced Street. Distinctive features of the park are its three lines of platanus orientalis trees. This Santiago Metropolitan Region location article is a stub . You can help Misplaced Pages by expanding it . Chilean National Museum of Fine Arts The Chilean National Museum of Fine Arts ( Spanish : Museo Nacional de Bellas Artes or MNBA ), located in Santiago , Chile ,
44-792: Is a 17th-century palace in Rome , facing the Piazza Barberini in Rione Trevi . Today, it houses the Galleria Nazionale d'Arte Antica , the main national collection of older paintings in Rome. Around 1549 Cardinal Alessandro Sforza came into possession of the garden/vineyard of Cardinal Rodolfo Pio da Carpi on the Quirinal Hill , where the Sforza family , had a palazzetto built. The sloping, semi-urban site
66-680: Is one of the major centers for Chilean art and for broader South American art. Established in 1880 (making it the oldest in South America), the organization is managed by the Artistic Union ( Unión Artística ). The current building, the Palace of the Fine Arts ( el Palacio de Bellas Artes ), dates to 1910 and commemorates the first centennial of the Independence of Chile . It was designed by
88-461: The Baroque Revival style , strongly reinforced with Art Nouveau details and touches of metallic structural architecture. The central entrance is through a gigantically enlarged version of Borromini 's false-perspective window reveals from Palazzo Barberini , which encloses a pedimented doorway entirely surrounded by glass, a Beaux-Arts touch. Through a broken pediment the squared cupola rises to
110-644: The Barberini family lived in the 1700-style apartment in the palazzo until 1955. Today, Palazzo Barberini houses the Galleria Nazionale d'Arte Antica , one of the most important painting collections in Italy. It includes Raphael's portrait La fornarina , Caravaggio's Judith Beheading Holofernes , and a Hans Holbein portrait of Henry VIII . In addition to paintings, the palazzo houses sculptures including Corradini's work Vestal Virgin Tuccia . The palace also houses
132-728: The Chilean architect Emile Jéquier in a full-blown Beaux-arts style and is situated in the Parque Forestal of Santiago. Behind it is located the Museum of Contemporary Art ( Museo de Arte Contemporáneo ) of the University of Chile , in which is also located the old School of Fine Arts ( Escuela de Bellas Artes ). The museum was officially founded on September 18, 1880, and originally named Museo National de Pinturas (National Painting Museum). The president of Chile , Don Aníbal Pinto ,
154-579: The Palazzo Barberini, he initiated a small natural science museum and botanical garden and his collections attested to his interests in ancient sculpture, numismatics and inscriptions. In 1902, the large Biblioteca Barberina was purchased by Pope Leo XIII and became part of the Vatican holdings. After the Wars of Castro and the death of Urban VIII, the palace was confiscated by Pamphili Pope Innocent X and
176-543: The celebrations for the centennial of independence. The Museum has remained in the "Palace" ever since. The building was damaged during the 1960 Chilean Earthquake , after which it was seismically upgraded, such that damage during the 2010 Chile earthquake was confined to fallen elements of the exterior. The Palacio de Bellas Artes, the current home of the Museum, is in the Neoclassical Second Empire style and
198-546: The entrance and a grand hall with a staircase to the second floor. In the grand hall, above a balcony from the second floor, there is a carving in high relief which depicts two angels supporting a shield. They are located in the semi-vault above the heads of two Caryatids that arise from the balcony, carved by Antonio Coll y Pi . 33°26′7.15″S 70°38′36.81″W / 33.4353194°S 70.6435583°W / -33.4353194; -70.6435583 Palazzo Barberini The Palazzo Barberini (English: Barberini Palace )
220-659: The frescoed ceilings at Sant'Ignazio (by Pozzo ); or those at Villa Pisani at Stra , the throne room of the Royal Palace of Madrid , and the Ca' Rezzonico in Venice (by Tiepolo ). Also in the palace is a masterpiece by Andrea Sacchi , a contemporary critic of the Cortona style, Divine Wisdom . The rooms of the piano nobile have frescoed ceilings by other seventeenth-century artists like Giuseppe Passeri and Andrea Camassei , plus, in
242-551: The government decided to create an original building for the Museum and School of Fine Arts, and Emilio Jéquier was selected. The building was built in the Parque Forestal, a landscaping work by Jorge Enrique Dubois , who had been trained in the gardening school of Versailles in France . Upon the completion of the building, it was officially inaugurated on September 21, 1910, as part of an International Exposition which formed part of
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#1733094474782264-407: The lines of Palazzo Farnese ; however, the design quickly evolved into a precedent-setting combination of an urban seat of princely power combined with a garden front that had the nature of a suburban villa with a semi-enclosed garden. Maderno began in 1627, assisted by his nephew Francesco Borromini . When Maderno died in 1629, Borromini was passed over and the commission to oversee construction
286-701: The main block to create a cour d'honneur . The garden is known as a giardino segreto ("secret garden"), for its concealment from an outsider's view. It houses a monument to Bertel Thorwaldsen , who had a studio in the nearby stables of the Palazzo Barberini in 1822–1834. The salon ceiling is graced by Pietro da Cortona 's masterpiece, the Baroque fresco of the Allegory of Divine Providence and Barberini Power . This vast panegyric allegory became highly influential in guiding decoration for palatial and church ceilings; its influence can be seen in other panoramic scenes such as
308-508: The minister Don Manuel García de la Huerta , Marcos Segundo Maturana and the sculptor José Miguel Blanco together managed the creation of the museum, whose first director was the painter Juan Mochi . In 1887 the government acquired a building known as "the Parthenon", which had been constructed by the Artistic Union for the purpose of hosting annual art expositions. The museum moved there and changed its name to Museum of Fine Arts. In 1901
330-409: The museum collection, precious detached frescoes by Polidoro da Caravaggio and his lover Maturino da Firenze . Hidden in the cellars of the rear part of the building, a Mithraeum was found during the construction work of Villa Savorgnan di Brazzà in 1936, dating probably from the second century AD. Around the mid 18th-century a Rococo-style apartment was decorated on the top floor. Descendants of
352-673: The other. Francesco established there the Arazzia Barberini or Barberini Tapestry works in 1627 which remained open until 1679. In February 1634, a revised version of Il Sant'Alessio , was performed at the Teatro delle Quattro Fontane , the Cardinal's private opera theater in the Palazzo. The Cardinal had written the libretto and Stefano Landi the music. He founded a library at the Palazzo which included ancient Greek and Roman manuscripts. Also at
374-471: The shape of an "H", with the Sforza wing facing the piazza. A second parallel wing is connected by a central hall. Flanking the hall, two sets of stairs lead to the piano nobile , a large squared staircase by Bernini to the left and a smaller oval staircase by Borromini to the right. The main block presents three tiers of great arch-headed windows, like glazed arcades, a formula that was more Venetian than Roman. On
396-522: The top. The internal layout and the facade are both modelled after the Petit Palais of Paris . The glass cupola that crowns the central hall was designed and manufactured in Belgium and brought to Chile in 1907. The approximate weight of the armour of the museum is 115,000 kg, of the glass of the cupola, 2,400 kg. Architectonically, the floorplan of the museum is one of a central axis marked by
418-424: The uppermost floor, Borromini's windows are set in a false perspective that suggests extra depth, a feature that has been copied into the 20th century. As well as Borromini's false-perspective windows reveals, other influential aspects of Palazzo Barberini that were repeated throughout Europe include the unit of a central two-storey hall backed by an oval salone and the symmetrical wings that extended forward from
440-457: Was awarded to Bernini , a young prodigy then better known as a sculptor. Borromini stayed on regardless and the two architects worked together, albeit briefly, on this project and at the Palazzo Spada . Works were completed by Bernini in 1633. The palace was inhabited mainly by Pope Urban VIII’s two nephews Francesco and Taddeo with Taddeo and his family living in one wing and Francesco in
462-465: Was only returned to the Barberini in 1653. Christina of Sweden visited Rome in December 1655. Nobles vied for her attention and treated her to a never-ending round of fireworks, jousts, mock duels, acrobatics, and operas. She was welcomed at the Palazzo Barberini on 28 February by a few hundred privileged spectators, as she watched an amazing carousel in the courtyard. Maderno envisioned a floor plan in
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#1733094474782484-517: Was purchased in 1625 from Alessandro Sforza, Duca di Segni by Maffeo Barberini, of the Barberini family , who became Pope Urban VIII . Three great architects worked to create the Palazzo, each contributing his own style and character to the building. Carlo Maderno , then at work extending the nave of St Peter's , was commissioned to enclose the Villa Sforza within a vast Renaissance block along
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