Historia de la devoción religiosa en Panamá a través de su arte

  1. Candy Barberena
  2. Fernando Quiles García dir. congr.
  3. José Miguel Muñoz Jiménez pr.
  4. Fermina Santana Consuegra col.

Publisher: Enredars

ISBN: 978-84-09-46957-4

Year of publication: 2022

Type: Book

Abstract

To analyse the baroque art of the Hispanic Isthmus of Panamá, reflects the re-evaluation of the work of Indigenous Artisans and carpenters as founders of the Indigenized Baroque, but above all the undeniable fact that a large number of the recipients of the works were Indigenous people and mestizos and, with this, it must be stated that the Indigenous culture did not disappear but has remained in the development of the artistic cultural movement. The following pages contain scientific documentation of these outcomes: the influences of the Sevillian great masters, an authentic popular baroque art created by the Indigenous groups, sculptures and altarpieces created by the artists from Quito and Lima during the viceregal period. It starts by recognizing that Panama's viceregal wealth was due to its strategic geographical position, defined since the conquest of Peru, and determining that the Spanish Crown assigned to the Isthmus of Panama the mission of interoceanic bridge. Due precisely to its strategic commercial position between the Viceroyalty of Peru and the Caribbean, a route that authorized art works that came from Spain to Peru, to be transported through Panamá., nevertheless also items that came from South America, especially from Quito and a small amount from New Granada to Spain. Since the Conquest and until today, this market has remained, and indisputably, Panamá has remained the logical and historical main centre for an art market on the so labelled Crossworld of the Americas.