Del océano al verso. Las caracolas de Pablo Neruda

techniques and materialities —vegetal and animal fibers, mud and clay, stones, bones and glass— speaking, perhaps more than any other artistic expression, about the identities of the Latin American peoples. Not only because they represent the creativity of their makers, but also because they reflect the profound relationship between the creators and their territories, the fruit of knowing and doing, one born after inhabiting, knowing and recognizing concrete landscapes. These three institutions guard and give access to a valuable part of the heritage and cultural wealth held by Universidad de Chile. These rich repositories also count, for example, with the registries of the first women who, during the nineteenth century, entered our halls: Dr. Eloísa Díaz and Dr. Ernestina Pérez, graduated in 1887 as medical surgeons. Their trajectory in the university, which allowed them to defy the conventions of their time, can be traced in our archives, which keep —among other documents— their files with the degree of Bachiller enHumanidades. At the same time, this repository counts with invaluable pieces, such as an original manuscript of Los Sonetos de la muerte , of Gabriea Mistral bequeathed by Pablo Neruda, and 880 original sheets of La Lira Popular. Among the heritage of several extraordinary women, we have preserved works by renowned artists, such as Marta Colvin, Ana Cortés, Lily Garafulic, Gracia Barrios, Roser Bru, Paz Errázuriz and Cecilia Vicuña, all of them awarded with the Premio Nacional de Artes Plásticas. Another stand out is the work of the artist and singer songwriter Violeta Parra, represented by the painting La muerte del angelito (1964) —kept in the MAC repository—, a piece that entered our collection after being presented in the "Exposición 16 universidad de chile