Brazil.
In Brazil several painters and sculptors influenced by Portuguese painters develop their own art that from European influences takes a different course associated with the idiosyncrasy of this vibrant and particular region.
In the rich and productive city of Minas Gerais in the 18th century, a peak in the arts and culture give rise to painters such as:
Antonio Francisco Lisboa (1730-1814) Architect, painter and baroque sculptor known as Alejandrino, was hired to decorate Iglesias. His works, with a marked religious character, were made of wood and steatita and subsequently painted, those were the main materials used by Baroque artists in Brazil. Among the works of Antonio Francisco Lisboa we find that of “The Twelve Prophets” and “The steps of passion”, in the church of “Jesus de Matozinhos” located in “Congonhas do Campo”.
Manuel da Costa Ataíde (1762-1830)
Also from Minas Gerais, known by Mestre Ataid. He was an outstanding painter who had a great influence on numerous students and painters followers of his pictorial style in his region; Even until the mid -nineteenth century, which used their method of composition, especially with regard to the treatment of the perspective in the roof of the churches.
Eusébio de Matos Guerra (1629 and 1692), born in Salvador, Bahía, was one of the most famous and best painters of the Baroque period of Brazil. He is considered as the founder of the Bay Painting School.
Francisco de Paula Jesuino Gusmão1764-1819, Carmelite priest, born in Sao Paulo and also known by his religious name Fray del Monte Carmelo. Outstanding as a painter, poet, architect, sculptor, glimpse, carver, teacher of Torêutica and Brazilian musician.
José Teófilo de Jesús(1758-1847) Brazil. Of the Bay Painting School, a decorating baroque painter that I highlight for the use of light and mastery contrasts. He emphasized drama with a palette that used extremes between dark colors and cakes in his scenes to highlight the main figures, giving them with a feeling of theatrical dynamism despite being represented the same idealized and etheric.
His work is eclectic and is characterized by illustrating elements that indicate the transition from Baroque to Rococó, use some features of neoclassical drawing, creativity adapting an aesthetic heritage imported in a new context, which derives in a typically Brazilian language.
I do profane issues also in a context where religious tradition had great weight. Its production is apparently huge, but a good number of works that identify with their name have this attribution sustained only by oral tradition. Despite being recognized by experts as one of the big names of the Brazilian Baroque, one of the last greats, the aspects of his life and artistic day is still full of gaps and uncertainties.
Cuzqueña school in baroque painting.
The Cuzqueña school was a famous School of Painting in the viceregal city of Cuzco around 1583, in the southwest of Peru, this school, perhaps the most important of Spanish colonial America, is characterized by its originality result of the confluence of two powerful currents: the western artistic tradition, on the one hand, and the eager World, seen dare of regional and particular idiosyncrasy customs, with ancient roots full of ancestral wisdom.
The triangular virgins are also painted (syncretism of the cult of the Virgin Mary and the “Pacha Mama”).
The Viceroyalty of Peru in the Cuzco area (a territorial entity created by the Crown during its domain in the New World, between the 16th and 19th centuries), covered much of the territory of South America, including Panama. Outside their domain: Venezuela and Brazil, which belonged to Portugal.
The region surrounding Lake Titicaca was the protagonist of a particular decoration style with “Los Angeles Arcabuceros” (these are asexual angels who are dressed in soldier and armed soldiers of an arcabuz). They integrate a strictly American pictorial style that was developed in the Marquesado of already I saw in the Puna de Jujuy, then belonging to the province of Tucumán, being his teacher Mateo Pisarro.
The Baroque in the painting Cuzqueña in the seventeenth century had the influence of the trembling current through the work of the Spanish painter Francisco de Zurbarán and also the inspiration of engravings with flamenco art from Antwerp, but the growing activity of Indian and mestizos painters towards the end of the 17 It moves away from the initial influence of the predominant currents in European art.
The anonymous painting Our Lady of Cocharcas under Baldaquín (Cuzco School, Peru), 1765, oil on canvas, which is exposed at the Brooklyn Museum is a sample of native adaptations to religious issues.
The artists of this school are interested in customary matters such as, for example, the procession of Corpus Cristi, and for representing Andean flora and fauna. They also appear a series of portraits of Indian chieftains, with their native attributes full of color and genealogical and heraldic paintings.
As for technical treatment, there is a departure from the perspective, added to a novel way of partitioning space in several concurrent spaces or in compartmentalized scenes. New chromatic solutions, with predilection for intense colors, are another typical trait of the nascent pictorial style.
At the end of the 17th century, specifically, in 1688 there is a disunity in the painters’ guild that ends with the departure of the Indian and mestizos painters of their Spanish colleagues. From this moment, free of the impositions of the guild, Indian and mestizo artists are guided by their own sensitivity and transfer their mentality and vernacular way to conceive the world. Geno’s issues, from the daily life they develop along with the traditional religious painting; But the latter is endowed with native elements and local religious syncretism in a more marked way.
Corresponding to this stage after the rupture are the native painters Antonio Sinchi Roca, with the series of evangelists and prophets on the pillars of the cathedral. Another indigenous teacher was Francisco Chihuantito with a signed work: «The Virgin of Montserrat».
The most famous series of what is known today as a Cuzqueña School is, without a doubt, that of the sixteen cadres of the Corpus Cristi, which were originally in the church of Santa Ana. This series has a huge historical and ethnographic value, since it shows in detail the various social strata of the colonial cuzco, as well as a large number of other elements of a party that was already central in the life of the city.
Each picture represents elements of a procession. For some historians the author of this series could be the painter Basilio Santa Cruz Puma Callao or it may be Diego Quispe Tito. (1611-1681) or come at least from their workshops. Both painters were of great importance in the art of the Cuzqueña school.
These canvases were commissioned by Bishop Mollinedo for the Church of Indians of Santa Ana in Cuzco (Peru) and was financed by noble Incas who are represented with all their dignities in some paintings of the series for being donors.
The first artist whose personality is known in the 18th century, is Basilio Pacheco. This author made the canvases of the life of San Agustín in the cloister of the Convent of San Agustín in Lima and an important picture “Circumcision” in which he uses a marked allegory to the painting of the Renaissance with the architecture represented at the bottom of the scene.
The other important artist of that 18th century is Marcos Zapata who is considered the last of the representatives of this school of Cuzqueña. Its pictorial production, which covers more than 200 paintings, extends between 1748 and 1764. His works still retain the theatrical and expressive baroque tendency of feelings, but elements that refer to the new trends and influences of their time emerge.
In the “Visitation” picture of Marcos Zapata, you can see the scenographic clarity, the movement of the characters, the lightness of the robes and mantles, the brilliant lighting of the atmosphere in the painting, where pastel colors predominate. The best thing about his work is the fifty large canvases that cover the high arches of the Cathedral of Cuzco and that are characterized by the abundance of flora and fauna as a decorative element.
Some followers of Marcos Zapata were the painters: Cipriano Gutiérrez, Antonio Vilca and Ignacio Chacón.
Guatemala.
In Guatemala in the city of Santiago de los Caballeros, specialized workshops arise in which artists taking the work of the raw wood sculptor (unpainted) do what is called the incarnate, others specialized in the “stew” and the gold on fire. The result is a filigree finish in ornamented layers with beautiful floral motifs, typical of this region.
Guatemalan baroque sculpture has long been favored by enthusiastic collectors, who mostly sought domestic worship pieces due to their small dimensions and easy transportation, although they also requested a lot of larger sacral sculptures to decorate churches, these being of the stewed, dress or frame.
Many works were lost due to very different acts of artistic and cultural vandalism or tragic adversity such as the fire that in 1993 consumed 64 works of art in the temple of Carmen in San Cristóbal de las Casas, formerly known as “Ciudad Real”.
Since the seventeenth century, this country had an outstanding artistic approach that in part, has survived to this day. But among those who unfortunately lost in the fire, was a beautiful sculpture that represents San Sebastián that was carried out by the artist Juan de Chávez as well as other magnificent works by local baroque artists who carried out their works between the seventeenth and eighteenth century. The religious sculpture was basically anonymous made by artisan artists and were not signed or the necessary documentation except in few cases are available.
Among the artists native to Guatemala are:
– Anton Rhodes.
– Quirio Cataño.
– Alonso de la Paz and Toledo.
– Juan de Chávez.
– Mateo de Zúñiga.
Mexico
Marian and invocation appearances in colonial Mexico were widely represented, at one time when many elite Creoles; Spaniards born in America defended their local identities and the greatness of New Spain.
Cristóbal de Villalpando(1649 …