Place Published: Philadelphia
Publisher: Saint Joseph's University Press
Date Published: 2012
Book ID: 68
Early Modern Catholicism and the Visual Arts Series, Vol. 6
312 pages + preface, concordance, bibliography, and index | 12.75 x 10 inches, 231 color images
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This bilingual edition focuses on the heritage of painting in colonial Quito with new research and new photography of previously unpublished paintings.
Publication of this book was assisted by a grant from The Carl and Marilynn Thoma Foundation.
Editor Suzanne L. Stratton-Pruitt is a historian of the art of Spain and Spanish America. Her publications include "The Arts in Latin America 1492-1820," co-edited with Joseph J. Rishel (Philadelphia Museum of Art, 2006), "The Virgin, Saints and Angels: South American Paintings 1600-1825 in the Thoma Collection" (Cantor Arts Center/Skira, 2006), as well as more recent essays in anthologies.
Organizer Judy de Bustamante is a widely published photographer who has lived in Quito since 1963. She holds degrees from Stanford University and the University of Madrid.
"The Art of Painting in Colonial Quito is an exquisite catalogue that carefully documents the rich, diverse variety of colonial works produced for Ecuador's capital. . . . Its strength . . . lies in its visual character: it is filled with beautiful, full-page color reproductions and details of more than 100 works. In addition, the catalogue entries feature carefully prepared text by an international team of art historians who describe the works, contextualize them, and clarify some of their iconographies and their meanings. To extend its appeal and reach, the book features text in both English and Spanish. Summing up: Highly recommended. Lower-level undergraduates through researchers/faculty; general readers."
L. E. Carranza, Choice
"The Art of Painting in Colonial Quito presents a 'virtual' catalogue of viceregal-era paintings in the Ecuadorian capital of Quito, a center of the Spanish colonial empire in South America. The historical range of the catalogue spans roughly the years 1590-1810. Iconographical discussion in the entries is exemplary, as is the historiographical section in the introductory essay, particularly in the frank discussion of the historical role of nationalism in the scholarship of South American art. The book's photography is its main strength, and places it at the forefront of the field of colonial South American art."
Donna L. Pierce, Frederick and Jan Mayer Curator of Spanish Colonial Art, Head of New World Department, Denver Art Museum
"Although a number of comprehensive examinations of Quiteñan architecture and sculpture have been undertaken in recent years, the art of painting has enjoyed no comparable broad, systematic study since the 1991 publication of José Gabriel Navarro's La pintura en el Ecuador del XVI al XIX. The Art of Painting in Colonial Quito is therefore an extremely welcome and indeed overdue contribution to this important but relatively neglected area of colonial Latin American painting. The 'virtual catalogue' offered in this volume is a novel approach that unites a range of works that would be virtually impossible to bring physically together, each with corresponding scholarly entries and stunning photographs, to tell the story of colonial Quiteñan painting in a manner that is comprehensive, deeply researched, and visually compelling. In many ways, the photographs are the stars of the show: they are exquisitely executed and the vast majority depict works that have never before been published--paintings long hidden away in cloistered convents, museum storage, or private collections."
Susan Verdi Webster, Jane W. Mahoney Professor of Art History and American Studies, College of William and Mary
"This is a remarkable publication, and yet another example of the contributions of the Saint Joseph's University Press to studies of important yet little known Latin American visual materials. In this handsome volume, a selection of more than eighty paintings from late-sixteenth- to early-nineteenth-century Quito are presented in excellent reproductions, with an informative historical introduction . . . and explanatory texts in both English and Spanish. . . . This book certainly provides the inspiration to continue to think about and to study more deeply these and other paintings in Ecuador and in all of Latin America that are still too little known."
Clara Bargellini, Universidad Nacional Autónoma de México (Catholic Historical Review)