### The exhibition of Mariano Bertuchi in Tetouan: a dive into Morocco from the beginning of the 20th century
Inaugurated within the Cervantes Institute in Tetouan, the exhibition “Mariano Bertuchi, Moroccan scenes” commemorates the 70th anniversary of the death of this emblematic Spanish artist. Through 68 works, ranging from 1903 to 1927, the exhibition is positioned not only as a tribute to the artist, but also as a window on life in Morocco during a period of deep transformation.
### Who was Mariano Bertuchi?
Born in 1884 in Granada, Mariano Bertuchi chose to settle in Morocco at a time when this country was plagued by complex changes, especially under European colonial influence. His meeting with Moroccan culture is revealing of an era when cultural and artistic exchanges were less standardized, which allowed him to draw from a diversity of landscapes, customs and people.
The artist is often described as a precursor, succeeding in transmitting, according to the director of the Cervantes Institute of Tetouan, Francisco Oda ángel, “the essence of the Moroccan people”. His canvases precisely capture scenes of daily life, animated markets and marine landscapes, while immortalizing a version of the country which differs considerably from the image of contemporary Morocco.
#### A work in context
It is also important to replace Bertuchi’s work in its historical context. The beginning of the 20th century in Morocco was marked by deep political changes, with the establishment of the French protectorate in 1912. In this perspective, Bertuchi’s works can be considered as an attempt to grasp an evolving culture. However, a question emerges: to what extent do these works faithfully describe the Moroccan reality of the time, and to what extent must they be read as an external look, potentially tinged with colonial romanticism?
The exhibition in Tetouan invites you to reflect on the role of foreign artists in the representation of cultures which are not theirs. If Bertuchi has been able to grasp authentic moments, it is essential to wonder if his interpretations are not, to a certain extent, influenced by his own perceptions and his European cultural context. This type of analysis is not intended to reduce the value of his work, but rather to enrich the understanding of its impact.
#### An artistic heritage to rediscover
Today, Bertuchi’s works are considered an integral part of the artistic heritage of Morocco. The fact that he founded the first school of fine arts in Africa testifies to his dedication to the promotion of arts in the region. Its presence in Tetouan, a city which has preserved a certain traditional character, allows the exhibition to put on a particular meaning: that of the continuity and the transformation of the arts in a developing Moroccan context.
However, some could argue that this heritage must also be confronted with contemporary voices that seek to narrate Morocco today. Can the initiative to highlight Bertuchi be seen as an opportunity to initiate intergenerational dialogues on the representation of Moroccan identity in art? How can contemporary Moroccan art appropriate and reinterpret this heritage to approach the concerns and realities of today?
#### Conclusion: a bridge between past and present
The exhibition “Mariano Bertuchi, Moroccan scenes” has the potential to open many lines of reflection, not only on the artist himself, but also on the way in which we perceive and valorize our history and our cultural heritage. It arouses questions about the responsibility of artists and cultural institutions in the way they weave the accounts of the past and those of the present.
In a world where cultural exchanges continue to evolve, this event in Tetouan could serve as a springboard to explore how art, in all its forms, can build bridges between cultures, generations and stories. This dialogue is perhaps the key to achieving a more nuanced and more enriching understanding of what Morocco is really today.