Sculpture was one of the greatest art disciplines during the Peruvian Viceroyalty, and was greatly influenced by Sevillian baroque.

This example confirms the strong influence of Juan Martínez Montañés from Seville on local artists. He created a distance school, which showed that religious art can also transmit drama and history.

Christopher, patron saint of travelers, is portrayed crossing the water with the Christ Child on his back, and as is customary, holding the branch of palm in his hand, which he used as a staff. Over time both symbols were lost in this image.

Carving and gilded wood remained constant throughout the period.

The theme of Christ Resurrected is not commonly represented. In contrast to the wounded and martyred Christ agonizing on the Cross, this is a serene image of the Resurrection. Since its arms were lost, the white flag with the red cross characteristic of his triumphant pose is absent.

We can observe the essential contribution of polychroming to the expression of the image, not only because it gives harmony and contrast to the carving, but also especially because it shades the gesture or expresion and even accentuates its plastics merit.

Several sculptures whose quality caught the attention of neighboring countries also came to Peru from other important Spanish workshops.

The work reproduced here and the previous one (Saint Joachim) are inspired in the work of the Spanish sculptor Gregorio Fernández, with a different treatment of the clothing.

Although wood was the preferred material, maguey (Agave americana) was commonly used in Andean sculpture studios.

Following the custom, Adam is portrayed with certain virility, as does Eve, whose body exhibits no seductiveness or female attractiveness.

Agave is used here to shape the bodies, which are then covered with chalk-paste, which can be carved once dry.

Museo Pedro de Osma
Credits: Story

Museo Pedro de Osma

Credits: All media
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