The Quito School (Escuela Quiteña) is an artistic tradition that 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 colonial period (1542-1824).[1] This artistic production was one of the most important activities in the economy of the Royal Audience of Quito.[2]
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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 Gocial 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.[3]
As a product of cultural sincretism 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 (the simulation of the color of the flesh of the 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:
The features indicating its indigenous roots include: