During the nineteenth century, they had to adapt to the demand to become "masterpieces" and to "register" at the regional and world level, a question that produced strange solutions, unhappy grandiose effects or happy interruption of conventions (...) Josefina de la Maza finds an unprecedented point of anchoring in the notion of mamarracho, an interpretative category that incorporates an air of time to the treatment of its object and that, although it emerges from the Chilean scope, it is productive to think also nineteenth-century Latin American painting, and even more, "bad" art in contexts called peripheral or postcolonial. -Ana Marí Risk.