Themes and Problems Regarding Mexico City Altarpieces in the Seventeenth Century

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During the decades between the second and the last third of the seventeenth century, a profound change can be seen in New Spain altarpieces. In a dominant site such as Mexico City, capital of the Viceroyalty, numerous sculptural workshops will be consolidated to meet the demand of that time. This wo...

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Autor principal: Cuesta Hernández, Luis Javier
Formato: Artículo revista
Lenguaje:Español
Publicado: Estudios e investigaciones 2018
Materias:
New Spain Alterpieces
Mexico Cathedral
Visual Model
Retablística novohispana
Catedral de México
Modelo visuales
Acceso en línea:http://revistascientificas.filo.uba.ar/index.php/payro/article/view/10487
Aporte de:
Estudios e investigaciones del Instituto de Teoría e Historia del Arte Julio Payró de Universidad de Buenos Aires
id I28-R251-article-10487
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spelling I28-R251-article-104872021-08-31T13:02:24Z Themes and Problems Regarding Mexico City Altarpieces in the Seventeenth Century El retablo en la Ciudad de México en el siglo XVII: temas y problemas Cuesta Hernández, Luis Javier New Spain Alterpieces Mexico Cathedral Visual Model Retablística novohispana Catedral de México Modelo visuales During the decades between the second and the last third of the seventeenth century, a profound change can be seen in New Spain altarpieces. In a dominant site such as Mexico City, capital of the Viceroyalty, numerous sculptural workshops will be consolidated to meet the demand of that time. This work focuses on the most prominent and prolific points of altarpiece production in the capital of the Viceroyalty, and their influence on its immediate geographical environment, and it will concentrate on some centers / workshops of special relevance such as the Metropolitan Cathedral or the Convent of San Agustín, which will become basic production centers throughout the seventeenth century. It is important to highlight the existence of some first works (beginning of the century) that correspond to what historiography has called “Romanists”; in the middle of the century some works were found that could be understood as “classicist” and from the seventies onwards, there was an explosion of altarpieces with the Solomonic column standing as their main distinguishing feature. This chronological sequence or “visual models” is accompanied by certain problems such as the existence of an active and important generation of assemblers, well aware of their activity, or the role of patrons and sponsors (from Fray Juan de Torquemada to Caballero Ocio) who undoubtedly played an outstanding role in the shaping of these visual models. En las décadas que abarcan el segundo y el último tercio del siglo XVII puede constatarse un cambio profundo en la retablística novohispana. En un centro clave como la Ciudad de México, capital del Virreinato, se consolidarán numerosos talleres escultóricos para cubrir la demanda de esa época. En este trabajo nos centramos en los focos de producción retablística más destacados y prolíficos en la capital del Virreinato, así como a sus respectivas influencias en su entorno geográfico inmediato para detenernos en algunos centros/talleres de especial relevancia tales como la Catedral Metropolitana o el convento de san Agustín, los que se convertirán en focos productores básicos a lo largo de todo el siglo XVII. Es importante destacar la existencia de unas primeras obras (comenzando el siglo) que corresponden con lo que la historiografía ha denominado “romanistas”; a mediados de siglo encontramos obras que podrían ser entendidas como “clasicistas” y a partir de los años setenta se advierte una eclosión de retablos en los que la columna salomónica se erige como principal rasgo distintivo. Esta secuencia cronológica o de “modelos visuales” está acompañada de problemas como el de la existencia de una generación activa e importante de ensambladores con una conciencia de su actividad o el rol de patronos y mecenas (desde fray Juan de Torquemada a Caballero Ocio) que jugaron también, sin duda, un papel en la configuración de esos modelos visuales. Estudios e investigaciones 2018-11-10 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf http://revistascientificas.filo.uba.ar/index.php/payro/article/view/10487 Estudios e investigaciones; Vol. 13 (2018); 77-91 2618-4230 spa http://revistascientificas.filo.uba.ar/index.php/payro/article/view/10487/9247
institution Universidad de Buenos Aires
institution_str I-28
repository_str R-251
container_title_str Estudios e investigaciones del Instituto de Teoría e Historia del Arte Julio Payró
language Español
format Artículo revista
topic New Spain Alterpieces
Mexico Cathedral
Visual Model
Retablística novohispana
Catedral de México
Modelo visuales
spellingShingle New Spain Alterpieces
Mexico Cathedral
Visual Model
Retablística novohispana
Catedral de México
Modelo visuales
Cuesta Hernández, Luis Javier
Themes and Problems Regarding Mexico City Altarpieces in the Seventeenth Century
topic_facet New Spain Alterpieces
Mexico Cathedral
Visual Model
Retablística novohispana
Catedral de México
Modelo visuales
author Cuesta Hernández, Luis Javier
author_facet Cuesta Hernández, Luis Javier
author_sort Cuesta Hernández, Luis Javier
title Themes and Problems Regarding Mexico City Altarpieces in the Seventeenth Century
title_short Themes and Problems Regarding Mexico City Altarpieces in the Seventeenth Century
title_full Themes and Problems Regarding Mexico City Altarpieces in the Seventeenth Century
title_fullStr Themes and Problems Regarding Mexico City Altarpieces in the Seventeenth Century
title_full_unstemmed Themes and Problems Regarding Mexico City Altarpieces in the Seventeenth Century
title_sort themes and problems regarding mexico city altarpieces in the seventeenth century
description During the decades between the second and the last third of the seventeenth century, a profound change can be seen in New Spain altarpieces. In a dominant site such as Mexico City, capital of the Viceroyalty, numerous sculptural workshops will be consolidated to meet the demand of that time. This work focuses on the most prominent and prolific points of altarpiece production in the capital of the Viceroyalty, and their influence on its immediate geographical environment, and it will concentrate on some centers / workshops of special relevance such as the Metropolitan Cathedral or the Convent of San Agustín, which will become basic production centers throughout the seventeenth century. It is important to highlight the existence of some first works (beginning of the century) that correspond to what historiography has called “Romanists”; in the middle of the century some works were found that could be understood as “classicist” and from the seventies onwards, there was an explosion of altarpieces with the Solomonic column standing as their main distinguishing feature. This chronological sequence or “visual models” is accompanied by certain problems such as the existence of an active and important generation of assemblers, well aware of their activity, or the role of patrons and sponsors (from Fray Juan de Torquemada to Caballero Ocio) who undoubtedly played an outstanding role in the shaping of these visual models.
publisher Estudios e investigaciones
publishDate 2018
url http://revistascientificas.filo.uba.ar/index.php/payro/article/view/10487
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first_indexed 2023-06-27T21:05:05Z
last_indexed 2023-06-27T21:05:05Z
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