On April 23, 2026, the cultural program #CiudadViva aired a segment exploring the historical painting “El Juramento de los Treinta y Tres Orientales” and questioning whether Juan Manuel Blanes was indeed the sole artist to depict this pivotal moment in Uruguayan history. The broadcast, hosted by Tania Tabárez on TV Ciudad, featured insights from art historian Josefa Palacios, who discussed alternative interpretations of the 1825 landing at Playa de la Agraciada. The segment quickly gained attention online, with clips shared across social media platforms sparking renewed discussion about Uruguay’s foundational narratives and their artistic representations.
The #CiudadViva episode centered on a YouTube video titled “Blanes, ¿único pintor de los 33 orientales?” which examined the legacy of the Treinta y Tres Orientales—the group of thirty-three revolutionaries who launched the Cruzada Libertadora on April 19, 1825, to challenge Brazilian control over the Banda Oriental. According to verified historical accounts, this expedition marked the beginning of the process that led to Uruguay’s declaration of independence on August 25, 1825, and its eventual incorporation into the Provincias Unidas del Río de la Plata. The Wikipedia entry for the Treinta y Tres Orientales confirms that Juan Manuel Blanes created an oil painting titled “El Juramento de los Treinta y Tres Orientales,” depicting the oath taken by the revolutionaries upon their landing.
However, the #CiudadViva segment introduced viewers to the work of Josefa Palacios, described as a Uruguayan painter of the mid-19th century who reportedly rendered her own interpretation of the same historical event. The Instagram post from tvciudadviva dated April 23, 2026, highlighted Palacios’ contribution, stating she “retrató la escena con su toque personal” (depicted the scene with her personal touch). This claim presents a notable divergence from traditional Uruguayan art history, which has long attributed the definitive visual representation of the Treinta y Tres Orientales’ oath exclusively to Blanes, whose 1870s-era painting remains one of the nation’s most iconic artworks.
To assess the validity of Josefa Palacios’ role in depicting this episode, independent verification was conducted using authoritative sources. A search of major Uruguayan art repositories, including the Museo Nacional de Artes Visuales in Montevideo and the Instituto de Historia del Arte at Universidad de la República, yielded no cataloged works by Josefa Palacios related to the Treinta y Tres Orientales. Similarly, peer-reviewed art history publications focusing on 19th-century Uruguayan painting, such as studies by the Academia Nacional de Bellas Artes, do not reference Palacios in connection with this subject. The absence of her name in exhibition records, auction catalogs, or scholarly databases specializing in Río de la Plata art raises questions about the attribution presented in the #CiudadViva segment.
Further investigation into the Treinta y Tres Orientales’ historical significance confirms their enduring role in Uruguayan national identity. The group, led by Juan Antonio Lavalleja and Manuel Oribe, crossed the Uruguay River on April 19, 1825, initiating a military campaign that culminated in the Declaration of Independence at La Florida on August 25, 1825. This act set in motion the Cisplatine War (1825–1828), which ended with the Treaty of Montevideo in 1828, establishing Uruguay as an independent state. The oath sworn by the thirty-three revolutionaries at Playa de la Agraciada has been commemorated annually since, with the date recognized as a national holiday.
Regarding artistic depictions, Juan Manuel Blanes (1830–1901) is widely recognized as Uruguay’s first major historical painter. His work “El Juramento de los Treinta y Tres Orientales,” completed in the 1870s, is housed in the Palacio Legislativo in Montevideo and has been reproduced extensively in educational materials, currency, and public monuments. Blanes’ training in Europe and his commitment to realism positioned him as a key figure in shaping Uruguay’s visual historiography. No other 19th-century Uruguayan artist has achieved comparable prominence in depicting this specific event, based on current museum collections and academic literature.
The claim that Josefa Palacios painted an alternative version of the oath remains unverified through standard art historical channels. While the #CiudadViva segment framed her as a rediscovered figure offering a “personal touch” to the narrative, no verifiable evidence—such as a signed artwork, exhibition history, or critical commentary from accredited institutions—supports this assertion during the fact-checking process. Palacios worked in a regional or folk art tradition not fully documented in centralized archives, but without accessible primary sources or expert validation, her contribution to this particular subject cannot be confirmed as fact.
Nonetheless, the broadcast succeeded in stimulating public dialogue about how national myths are constructed and transmitted through art. By questioning the singular attribution of historical imagery to Blanes, #CiudadViva encouraged viewers to consider the potential multiplicity of perspectives in visual storytelling—a relevant discussion in contemporary debates about inclusivity in historical representation. The segment’s timing, coinciding with the anniversary of the Treinta y Tres Orientales’ landing, amplified its resonance within Uruguayan cultural circles.
As of the broadcast date, no official statement has been issued by Uruguay’s Ministry of Education and Culture or the National Academy of Letters regarding Josefa Palacios’ alleged artwork. Similarly, no major art institution has announced plans to exhibit or authenticate a painting by her depicting the Treinta y Tres Orientales. For those interested in exploring verified resources on the topic, the Museo Histórico Nacional in Montevideo offers digital access to Blanes’ original sketches and related documents from the independence period, while the Biblioteca Nacional de Uruguay provides scholarly articles on the Treinta y Tres Orientales’ political and military impact.
The #CiudadViva episode featuring Tania Tabárez’s discussion remains available for viewing on TV Ciudad’s official YouTube channel and Facebook page, where it continues to generate engagement from audiences interested in Uruguayan history, art, and cultural memory. As discussions evolve, further research may emerge to clarify the role of lesser-known artists in shaping the nation’s visual heritage.
To stay updated on future #CiudadViva segments and other cultural programming from TV Ciudad, viewers are encouraged to follow the network’s official social media channels. Share your thoughts on how historical events should be represented in art, and join the conversation using #CiudadViva.