Summary: This volume brings together the results of a major Research Project funded by the Spanish Ministry for the Economy and Competitiveness (HAR2013-43976-P), in which lecturers from the universities of Granada, Seville and Mexico City, with the participation of other recognised special­ ists, analyse the relationships and alternatives offered by Baroque sculpture in its main centres in Andalusia and Latin America. This edition covers art produced during the second half of the 17th century, as a continuation of work by the same research team published in the volumes La escultura de! pnrner Naturalismo en Andaluda e Hispanoamerica (1580-1625) (Madrid, 2010) and La consolidacion de! barroco en la escultura andaluza e hispanoamericana (G ranada, 2013). The first section of the book presents a complete overview of Andalusian sculpture of that period through the figures of its most active sculptors in Granada and Seville, two centres which were to polarise production towards east and west. In Granada, the arrival of the multi-faceted Alonso Cano in 1652 brought with it a considerable aesthetic revolution and the start of a golden age in sculpture, which is testified by his own work and that of his most outstanding followers, led by Pedro de Mena and the Mora family. It equally important to examine the sculpture of that time in Seville, which was already on the path towards a language of pure Baroque with the arrival of new forms in the city bought by the Flemish sculptor Jose de Arce. This was to reach an extraordinary level of development in the production of other leading figures such as Pedro Roldan, his daughter Luisa Ignacia, or Francisco Antonio Gijon. This comprehensive view is completed with the work of creators who developed their activities in other growing centres such as Malaga and Cadiz The second half of the book covers Baroque sculpture throughout two viceroyalties that belonged to Spanish overseas territories until the 19th century: New Spain and Peru. In Colombia, sculpture, and even the art of altarpieces, was dominated by Pedro de Lugo Albarracin, whereas in Ecuador it was the art of relief, linked to grandiose convent altarpieces, which was to triumph. Juan de Aguirre and Asensio de Salas were responsible for some of the greatest altarpieces found in Peru. In the case of Mexico City, one of the contributions here is dedicated to cathedral altarpieces and their patrons, whereas the other analyses the work of active sculptors in the current states of Mexico and Puebla. These areas of creation - sculpture and altarpieces- enjoyed considerable development in the Old Captaincy General of Guatemala. The work culminates, though exceeding the selected time frame, with an original study on Pedro Laboria, whose unique trajectory between Cadiz and Bogota made him a strong link between the Andalusian and Latin American worlds.

Contents: Alonso Cano escultor. Una nueva vision de un viejo problema ; Pedro de Mena. Precisiones y novedades ; Seguidores de Pedro de Mena en Malaga y Antequera ; En la estela de Cano - Jose de Mora y sus contextos ; La sugestion de un escultor regio en el barroco granadino - Bernardo y Diego de Mora ; La escultura sevillana del pleno barroco y sus protagonistas durante la segunda mitad del siglo XVII ; Ternura, dolor y sonrisas - Los sentimientos en la obra de Luisa Roldan ; Cadiz, un espacio de confluencias para la escultura del pleno barroco ; Pedro de Lugo Albarracin y el desarrollo del pleno barroco en la escultura neogranadina del siglo XVII ; Relivario quiteno - Retablos y programas escultoricos del siglo XVII en Quito ; Retablos y esculturas - el salomonico en Lima, 1650-1710 ; Retablos y mecenazgo en la catedral de Mexico en la segunda mitad del siglo XVII (1667-1713) ; Entre Puebla y Mexico - Algunas consideraciones sobre escultura en el virreinato de la Nueva Espana (1640-1725) ; El retablo y la escultura barroca en la Capitania General de Guatemala (1650-1710) ; Pedro Laboria y la teatralidad elocuente en la escultura barroca bogotana. (Coleccion Arte y Arqueologia)

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