This book focuses on the techniques and materials of polychromy used in early modern Europe and the Americas from 1200 to 1800.
Taking a trans-cultural approach, the book studies the production of polychrome sculptures, panels, and altarpieces, as well as colored terracotta and painted representations of marble and stone. The book includes chapters on treatises and contracts that reveal specific use of pigments, distribution of workshops, collaborations between specialized artists, and artistic programs centered on the use of color as an agent.
The book will be of interest to scholars working in art history, art conservation, early modern history, sculpture, material culture, European studies, and transatlantic artistic interactions.
Introduction Part 1: Pigments, Color, and the Paragone 1. “The color to imitate a man”: On the Meaning of Flesh Tones on Panel Paintings from Antiquity to the High Middle Ages 2. The colors of the Virgin: Romanesque polychrome wood sculptures in Italy and a question about azurite 3. Naming blue pigments and colors in Medieval Catalonia: the case of Lluís Borrassà 4. Spanish polychromed sculpture in the Low Countries. A journey through art history and techniques 5. Pacheco’s Art of Painting: the parangón and the techniques of Spanish seventeenth-century polychrome sculpture Part 2: Sculptures in Context 6. Statue Painting in Colonial Andes: ‘Indian’ Virgins and Resacralization of the Religious Landscape 7. Worms Cannot Eat Stone: The Pugliese Presepe and the Materiality of Devotion in Early Modern Puglia 8. Faith, spectacle and the polychromed processional figures of Luis Antonio de los Arcos and Luisa Roldán 9. Patrons, Sculptors, and Painters in Eighteenth-Century Spain: Polychroming Duque Cornejo’s Sculptures 10. More than Wood: Sculpture and Blasphemy in Seventeenth-Century New Spain 11. The Retablos of Mani: The Convergence of Maya and Spanish Art 12. Artists, techniques, and sacred materials: revisiting the case of the Christ of Ixmiquilpan
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