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Transatlantic works of art: the hybrid qualities of two kinds of baroque
Author(s) -
Trusted Marjorie
Publication year - 2020
Publication title -
renaissance studies
Language(s) - English
Resource type - Journals
SCImago Journal Rank - 0.117
H-Index - 16
eISSN - 1477-4658
pISSN - 0269-1213
DOI - 10.1111/rest.12594
Subject(s) - sculpture , baroque , painting , art , visual arts , polychrome , peninsula , architecture , maltese , art history , decorative arts , the arts , history , archaeology , visual arts education , philosophy , linguistics
This essay is a study of the marble baroque sculpture of St Rose of Lima, later the patron saint of South America and the Philippines. The sculpture was executed by the Maltese artist active in Rome, Melchiorre Cafà (1636 – 1667), and signed and dated 1665. It was destined for the Dominican church of Sto Domingo in Lima. The Iberian peninsula and Viceregal America were inextricably linked politically and culturally from the sixteenth century onwards. In the visual arts, notably in architecture, painting, sculpture, ceramics and metalwork, compelling hybrid forms resulted from these intertwined connections. But as well as forms and shapes, decorative techniques and surfaces, the importation of works of art from Europe also changed the way in which art was viewed and received.