Finding Caspicara : Double Identities, Hidden Figures, and the Commerce of Sculpture in Colonial Quito

個数:

Finding Caspicara : Double Identities, Hidden Figures, and the Commerce of Sculpture in Colonial Quito

  • 在庫がございません。海外の書籍取次会社を通じて出版社等からお取り寄せいたします。
    通常6~9週間ほどで発送の見込みですが、商品によってはさらに時間がかかることもございます。
    重要ご説明事項
    1. 納期遅延や、ご入手不能となる場合がございます。
    2. 複数冊ご注文の場合は、ご注文数量が揃ってからまとめて発送いたします。
    3. 美品のご指定は承りかねます。

    ●3Dセキュア導入とクレジットカードによるお支払いについて
  • 【入荷遅延について】
    世界情勢の影響により、海外からお取り寄せとなる洋書・洋古書の入荷が、表示している標準的な納期よりも遅延する場合がございます。
    おそれいりますが、あらかじめご了承くださいますようお願い申し上げます。
  • ◆画像の表紙や帯等は実物とは異なる場合があります。
  • ◆ウェブストアでの洋書販売価格は、弊社店舗等での販売価格とは異なります。
    また、洋書販売価格は、ご注文確定時点での日本円価格となります。
    ご注文確定後に、同じ洋書の販売価格が変動しても、それは反映されません。
  • 製本 Hardcover:ハードカバー版/ページ数 272 p.
  • 言語 ENG
  • 商品コード 9781477329726
  • DDC分類 730.92

Full Description

An examination of sculpture and authorship in eighteenth-century Quito that documents Caspicara as a participant in the innovative artistic production of the city's workshops and its widespread commerce of polychrome sculptures.

Who is Caspicara? Nothing is known of Caspicara's life, and not a single sculpture has been documented as his work. Yet traditional histories laud him as a prolific Indigenous sculptor in eighteenth-century Quito who created exquisite polychrome figures and became a national artistic icon. Drawing on extensive archival, historical, and object research, Susan Verdi Webster peels away layers of historiographical fabrication to reveal what we do and do not know about Caspicara and his work.

Rather than being a solitary master, Caspicara collaborated with other, largely Indigenous artists in Quito's protoindustrial workshops, manufacturing sculptures now credited to him alone. The high quality of Quito sculptures produced by anonymous artists turned the city into a hub of wide-ranging commerce in religious icons. The art world and post-independence Ecuadorians have lionized the one named sculptor, Caspicara, according to the Western model of the artist-genius, amplifying the market for works bearing his name and creating a national hero on par with European masters. Lost in this process were the artists themselves. Webster returns to their world, detailing their methods and labor and, for the first time, documenting a sculpture made by Caspicara.

Contents

List of Illustrations
Preface
Acknowledgments
Introduction
1. Inventing Caspicara
2. Painted Sculpture: The Paragone and Division of Labor in Quito
3. Caspicara in the Taller
4. Bultos and Body Parts: The Production and Commerce of Quito Sculpture
5. Caspicara in the Archive
6. Tracking Caspicara in PopayÁn: Confraternities and Holy Week
7. Hidden Figures: Caspicara and Quito Sculpture
8. Subsidiary Figures: More Commissions from Quito
9. Mise en ScÈne: Sculptures in Motion
Conclusion: Seeing Caspicara Anew
Appendix A. Last Will and Testament of Juan Manuel Legarda (Excerpt), 1773
Appendix B. Inventory of the Confraternity of Saint Peter, PopayÁn, 1777
Appendix C. Artistic Commissions from Quito to PopayÁn, 1792-1802
Notes
Bibliography
Index

最近チェックした商品