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New Spanish Baroque
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New Spanish Baroque
New Spanish Baroque, also known as Mexican Baroque, refers to Baroque art developed in the entire territories that once formed the Viceroyalty of New Spain. During this period, artists of New Spain experimented with expressive, contrasting, and realistic creative approaches, making art that became highly popular in New Spanish society.
Among notable artworks are polychrome sculptures, which as well as the technical skill they display, reflect the expressiveness and the colour contrasts characteristic of New Spanish Baroque.
Two styles can be traced in the architecture of New Spain: the Salomónico, developed from the mid-17th century, and the Estípite, which began in the early 18th century. The most emblematic substyle of Mexican Baroque architecture is Churrigueresque.
A model of the Cathedral of Puebla represents the architectural magnificence of New Spain. A choir book and a harpsichord of the 18th century highlight the importance of music for the colonial society of the Baroque period in Mexico.
In the realm of painting, New Spanish baroque had great artists whose works are in museums such as the Museum of the Viceroyalty in Tepotzotlán, El Carmen Museum in San Ángel, Santa Mónica Museum in Puebla, and Metropolitan Cathedral in Mexico City.
Among the most distinguished artists were:
Simón Pereyns lived in Antwerp c. 1530 then Mexico c. 1600. He was a Flemish painter and in 1558, he moved to Lisbon and then to Madrid, where he worked as a court artist.
In 1566, he went to New Spain, achieved fame with his paintings in Mexico. Many works are attributed to him, but most of them have been lost; among those conserved are the ten tables of the altarpiece of Huejotzingo (1586), which revealed the influence of Dürer and his work on Saint Christopher (1585).
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New Spanish Baroque
New Spanish Baroque, also known as Mexican Baroque, refers to Baroque art developed in the entire territories that once formed the Viceroyalty of New Spain. During this period, artists of New Spain experimented with expressive, contrasting, and realistic creative approaches, making art that became highly popular in New Spanish society.
Among notable artworks are polychrome sculptures, which as well as the technical skill they display, reflect the expressiveness and the colour contrasts characteristic of New Spanish Baroque.
Two styles can be traced in the architecture of New Spain: the Salomónico, developed from the mid-17th century, and the Estípite, which began in the early 18th century. The most emblematic substyle of Mexican Baroque architecture is Churrigueresque.
A model of the Cathedral of Puebla represents the architectural magnificence of New Spain. A choir book and a harpsichord of the 18th century highlight the importance of music for the colonial society of the Baroque period in Mexico.
In the realm of painting, New Spanish baroque had great artists whose works are in museums such as the Museum of the Viceroyalty in Tepotzotlán, El Carmen Museum in San Ángel, Santa Mónica Museum in Puebla, and Metropolitan Cathedral in Mexico City.
Among the most distinguished artists were:
Simón Pereyns lived in Antwerp c. 1530 then Mexico c. 1600. He was a Flemish painter and in 1558, he moved to Lisbon and then to Madrid, where he worked as a court artist.
In 1566, he went to New Spain, achieved fame with his paintings in Mexico. Many works are attributed to him, but most of them have been lost; among those conserved are the ten tables of the altarpiece of Huejotzingo (1586), which revealed the influence of Dürer and his work on Saint Christopher (1585).
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