Transatlantic works of art
The hybrid qualities of two kinds of baroque
Bibliographic Data
| ID | 11499671 |
|---|---|
| Authors | Marjorie Trusted (0000-0002-8416-6205, Victoria and Albert Museum, corresponding author) |
| Year | 2020 |
| Volume | 34 |
| Issue | 4 |
| Pages | 669-686 |
| Publication date | 2020-09-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Renaissance Studies (JOURNAL) |
| Journal identifiers | ISSN: 0269-1213 • E-ISSN: 1477-4658 |
| Publisher | Wiley (PUBLISHER • GB) |
| DOI | 10.1111/rest.12594 |
| OpenAlex | W2965987030 |
| Language | EN |
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
Archaeology · Art · Art history · Baroque · Decorative arts · Maltese · Painting · Peninsula · Polychrome · Sculpture · The arts · Visual arts · Visual arts education · Historical Art and Architecture Studies · Historical Studies on Spain · History · Latin American history and culture · Philosophy · Architecture
| Highly cited | No |
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