The Quito School (Escuela Quiteña) is a Latin American artistic tradition that constitutes essentially the whole of the professional artistic output developed in the territory of the Royal Audience of Quito – from Pasto and Popayán in the north to Piura and Cajamarca in the south – during the Spanish colonial period (1542–1824).[1] It is especially associated with the 17th and 18th centuries and was almost exclusively focused on the religious art of the Catholic Church in the country.[2] Characterized by a mastery of the realistic and by the degree to which indigenous beliefs and artistic traditions are evident, these productions were among of the most important activities in the economy of the Royal Audience of Quito.[3] Such was the prestige of the movement even in Europe that it was said that King Carlos III of Spain (1716–1788), referring to one of its sculptors in particular, opined: "I am not concerned that Italy has Michelangelo; in my colonies of America I have the master Caspicara".[4]
La Virgen alada del Apocalípsis ("Winged Virgin of the Apocalypse") by Miguel de Santiago, 17th century.
Retrato de una señora principal con su negra esclava ("Portrait of a Quito Matron Lady with Her Black Slave") by Vicente Albán, 1783. Oil on canvas, 80 x 109 cm. Madrid, Museum of the Americas.
The Quito School originated in the school of Artes y Oficios, founded in 1552 by the Franciscan priest Jodoco Ricke, who together with Friar Pedro Bedón transformed the San Andrés seminary, where the first indigenous artists were trained. As a cultural expression, it is the result of a long process of acculturation between indigenous peoples and Europeans, and it is one of the richest expressions of miscegenation (mestizaje) and of syncretism, in which the participation of the vanquished Indian is seemingly of minor importance as compared to the dominant European contribution.[5]
Characteristics
As a product of cultural syncretism and miscegenation, the works of the Quito School are characterized by the combination and adaptation of European and Indigenous features. In its development, it reflected the styles prevailing in each period of Spain and thus contains renaissance and mannerist elements. During its height, it was eminently baroque, concluding with a short rococo period leading to an incipient neoclassicism until the transition to the republican period. The Quito School also incorporated Flemish, Italian, and Moorish influences.
One of the common characteristics of the school is the technique of encarnado ("flesh-colored") — the simulation of the color of the flesh of the (European) human body — that makes the skin of sculptures appear more natural. Once the piece was perfectly cut and sanded, an artisan covered the wood with several layers of gesso with glue. Each layer was highly polished to achieve a perfectly smooth finish. Next, color was applied in various transparent layers, allowing an optical mix of overlapping colors. This began with the colors of shadows (blue, green, ocher), then light colors were applied (white, pink, yellow). and finally highlight colors were added (orange and red to cheeks, knees, and elbows of children; and dark blue, green, and violet for wounds and bruises of Christ or for stubble on a beardless figure).
Other typical characteristics include:
Serpentine representation of the movement of bodies, especially in sculpture
Close-up view of “St. Joseph's Workshop” by Manuel de Samaniego. Oil on canvas, 51 x 69.4 cm, 18th century. Quito, Ecuador. MUNA.[6]
“Procession during the time of drought” from the painting series “The Virgin of Guápulo's miracles” (1699-1706) by Miguel de Santiago. Oil on canvas, 137 x 137 cm. Santiago de Guápulo, Quito, Ecuador.
Close-up view of “Virgin of El Carmen” by Isabel de Santiago.
^Ximena Escudero-Albornoz and Ximena Escudero de Terán. América y España en la escultura colonial quiteña: historia de un sincretismo. Ediciones del Banco de los Andes (1992). ISBN9978-82-293-3, ISBN978-9978-82-293-7
^Handelsman, Michael (2000), Culture and Customs of Ecuador (Series: Culture and Customs of Latin America and the Caribbean; Series editor: Peter Standish); Westport, Connecticut/London: Greenwood Press, pg 125.
^Christiana Renate Borchart de Moreno. La Audiencia de Quito: aspectos económicos y sociales (siglos XVI-XVIII). Editorial Abya Yala (1998). ISBN9978-72-084-7, ISBN978-9978-72-084-4
^Rivas, Julio (2012), Un sitio llamado San Francisco; Revista Clave!, Nov-Dec issue. [No me preocupa que Italia tenga a Miguel Ángel, en mis colonias de América yo tengo al maestro Caspicara.]
^Ximena Escudero Albornoz and José María Vargas Arévalo. Historia y crítica del Arte Hispanoamericano, Real Audiencia de Quito: (siglos XVI, XVII y XVIII). Editorial Abya Yala (2000). ISBN9978-04-562-7, ISBN978-9978-04-562-6
^Kennedy, Alexandra (2002). Arte de la Real Audiencia de Quito, siglos XVII-XIX. Nerea. ISBN84-89569-83-5.
External links
The colonial Andes: tapestries and silverwork, 1530-1830, an exhibition catalog from The Metropolitan Museum of Art Libraries (fully available online as PDF), which contains material on the Quito School
January 08, 2023
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The Quito School Escuela Quitena is a Latin American artistic tradition that constitutes essentially the whole of the professional artistic output developed in the territory of the Royal Audience of Quito from Pasto and Popayan in the north to Piura and Cajamarca in the south during the Spanish colonial period 1542 1824 1 It is especially associated with the 17th and 18th centuries and was almost exclusively focused on the religious art of the Catholic Church in the country 2 Characterized by a mastery of the realistic and by the degree to which indigenous beliefs and artistic traditions are evident these productions were among of the most important activities in the economy of the Royal Audience of Quito 3 Such was the prestige of the movement even in Europe that it was said that King Carlos III of Spain 1716 1788 referring to one of its sculptors in particular opined I am not concerned that Italy has Michelangelo in my colonies of America I have the master Caspicara 4 La Virgen alada del Apocalipsis Winged Virgin of the Apocalypse by Miguel de Santiago 17th century Retrato de una senora principal con su negra esclava Portrait of a Quito Matron Lady with Her Black Slave by Vicente Alban 1783 Oil on canvas 80 x 109 cm Madrid Museum of the Americas Contents 1 Origins 2 Characteristics 3 Notable artists 3 1 Painters 3 2 Sculptors 4 See also 5 References 6 External linksOrigins EditThe Quito School originated in the school of Artes y Oficios founded in 1552 by the Franciscan priest Jodoco Ricke who together with Friar Pedro Bedon transformed the San Andres seminary where the first indigenous artists were trained As a cultural expression it is the result of a long process of acculturation between indigenous peoples and Europeans and it is one of the richest expressions of miscegenation mestizaje and of syncretism in which the participation of the vanquished Indian is seemingly of minor importance as compared to the dominant European contribution 5 Characteristics EditAs a product of cultural syncretism and miscegenation the works of the Quito School are characterized by the combination and adaptation of European and Indigenous features In its development it reflected the styles prevailing in each period of Spain and thus contains renaissance and mannerist elements During its height it was eminently baroque concluding with a short rococo period leading to an incipient neoclassicism until the transition to the republican period The Quito School also incorporated Flemish Italian and Moorish influences One of the common characteristics of the school is the technique of encarnado flesh colored the simulation of the color of the flesh of the European human body that makes the skin of sculptures appear more natural Once the piece was perfectly cut and sanded an artisan covered the wood with several layers of gesso with glue Each layer was highly polished to achieve a perfectly smooth finish Next color was applied in various transparent layers allowing an optical mix of overlapping colors This began with the colors of shadows blue green ocher then light colors were applied white pink yellow and finally highlight colors were added orange and red to cheeks knees and elbows of children and dark blue green and violet for wounds and bruises of Christ or for stubble on a beardless figure Other typical characteristics include Serpentine representation of the movement of bodies especially in sculpture Application of aguada watercolor on top of gold leaf or silver paint giving a special metallic sheenThe features indicating its indigenous roots include Quitenization of characters with mixed traits and local costumes Frequent appearance of ancestral indigenous customs Location of the scenes within the Andean countryside or cities Presence of local flora and fauna and the substitution of local plants for traditional European iconographyNotable artists EditPainters Edit Vicente Alban Friar Pedro Bedon Nicolas Javier Goribar Hernando de la Cruz Miguel de Santiago ca 1620s 1706 Manuel de Samaniego Isabel de Santiago Friar Pedro GossealSculptors Edit Bernardo de Legarda ca 1700 1 June 1773 Manuel Chili Caspicara Miguel Angel Tejada Zambrano Maria Estefania Davalos y Maldonado Winged Virgin of the Apocalypse by Miguel de Santiago Virgin of Quito by Bernardo de Legarda The wooden sculpture follows the theme of the Woman of the Apocalypse Close up view of St Joseph s Workshop by Manuel de Samaniego Oil on canvas 51 x 69 4 cm 18th century Quito Ecuador MUNA 6 Procession during the time of drought from the painting series The Virgin of Guapulo s miracles 1699 1706 by Miguel de Santiago Oil on canvas 137 x 137 cm Santiago de Guapulo Quito Ecuador Close up view of Virgin of El Carmen by Isabel de Santiago Replica of Hell by Hernando de la Cruz 17th century Iglesia de la Compania Quito Ecuador See also EditVirgin of Quito BaroqueReferences Edit Ximena Escudero Albornoz and Ximena Escudero de Teran America y Espana en la escultura colonial quitena historia de un sincretismo Ediciones del Banco de los Andes 1992 ISBN 9978 82 293 3 ISBN 978 9978 82 293 7 Handelsman Michael 2000 Culture and Customs of Ecuador Series Culture and Customs of Latin America and the Caribbean Series editor Peter Standish Westport Connecticut London Greenwood Press pg 125 Christiana Renate Borchart de Moreno La Audiencia de Quito aspectos economicos y sociales siglos XVI XVIII Editorial Abya Yala 1998 ISBN 9978 72 084 7 ISBN 978 9978 72 084 4 Rivas Julio 2012 Un sitio llamado San Francisco Revista Clave Nov Dec issue No me preocupa que Italia tenga a Miguel Angel en mis colonias de America yo tengo al maestro Caspicara Ximena Escudero Albornoz and Jose Maria Vargas Arevalo Historia y critica del Arte Hispanoamericano Real Audiencia de Quito siglos XVI XVII y XVIII Editorial Abya Yala 2000 ISBN 9978 04 562 7 ISBN 978 9978 04 562 6 Kennedy Alexandra 2002 Arte de la Real Audiencia de Quito siglos XVII XIX Nerea ISBN 84 89569 83 5 External links EditThe colonial Andes tapestries and silverwork 1530 1830 an exhibition catalog from The Metropolitan Museum of Art Libraries fully available online as PDF which contains material on the Quito School Retrieved from https en wikipedia org w index php title Quito School amp oldid 1087886224, wikipedia, wiki, book, books, library,
