Sculpting Divinity: Artistic Evolution and Syncretism in the Baroque Works of Luisa Roldán and Manuel Chili

Introduction

The Baroque period flourished from the late 16th century to the end of the 18th century. It was marked by artistic grandeur from European artists and eventually migrated from European countries to their South American colonies. Subsequently, as South American nations were granted their independence, Baroqueness continued to emerge as a common form of art. While many of the characteristics necessary for executing this form of art remained consistent among different artists, several shifted, especially in regard to what could be called the founding principles of Baroque. Many of these characteristics also varied depending on the artist and the intended audience. This paper will aim to explore and compare the work of Luisa Roldan and Manuel Chili. Luisa Roldan, also known as La Roldana, was a pioneering female sculptor born in Seville, Spain. She emerged as a prominent artist in a period when the artistic field was mostly male dominated (Elsen 2021). Her father, Pedro Roldan, was also a sculptor which likely explains Luisa’s expertise and initial introduction into the field. She was the first female sculptor to be registered in Spain and later received patronage from King Philip V (Gaffney 2019). On the other hand, Manuel Chili, more commonly known as Caspicara, was born in Quito, Ecuador. By the time he was born, this city was still a colonial territory of Spain. He is one of the artists who was part of the Quito School of Art. He was known for his distinct, unique approach to sculpting. Even when he was compared to other artists of his time such as Manuel de Tolosa or Salvador de la Vega it was said that they had “nothing in common with Capicaras unaffected and charming productions” (Navarro 1925, 801). This paper will examine how Luisa Roldán and Manuel Chili, through their distinctive sculptural techniques and cultural incorporations, exemplify the evolution and diversity of Baroque art, highlighting both the shared foundational elements and the unique regional adaptations in Spain and colonial Ecuador.

Religion as a Means for Style

As was characteristic in Baroque, both Manuel Chili and Luisa Roldan engaged with religious themes. This was common at the time as patrons would usually be associated with and receive most of their money from the Catholic church itself. Back then, this was both used for didactic and devotional purposes. For instance, Roldan’s, “Gines de la Jara,” a sculpture of a Catholic saint exemplifies a mastery of dramatic expression and composition. This sculpture is one of many who would bring Catholicism to life thus showing how the Church used art as a means for storytelling. Similarly, Caspicara work, located in the Metropolitan Museum of Art, shows the blend of indigenous traditions and European Baroque traditions. Despite this blend, Caspicara work was also used as a means of storytelling for the Catholic church. In fact, Caspicara, in order to appeal to those who were not as familiar or confident in the Catholic church, integrates Andean iconography and cultural symbols into traditional Catholic symbols. The sculpture mentioned above includes figures of Mary, Joseph, and Jesus. Similar to the works of Roldán, the sculpture features a strong religious presence and other Baroque characteristics such as detailed folds in the garments and visible feet, elements that are also evident in Caspicara's work. Despite these similarities, Caspicara also chooses to use elements that are native to his culture such as Ecuadorian ponchos and colores oro (golden colors) to create the sculpture. This mix not only showcases the religious syncretism that existed within Spain and its colonies but also serves as a means to highlight the differences between his sculpture and style compared with Luisa Roldan’s more traditional baroque elements.

The stylistic elements of Roldán’s and Caspicara’s works provide a fascinating lens through which to view their artistic endeavors. Roldan’s use of polychromy is responsible for the vivid realism that is shown in her paintings (Elsen 2021, 65). This use of color was part of the excess she was notable for showing in her art, particularly in her sculptures where she often also employed an excess of materials. In Jesus Carrying the Cross she uses a real robe and in St Michael and the Devil she uses an abundance of colors which also differ from those traditionally used in Renaissance Italy. She also used feet as a means of distinguishing humans apart from animals. Caspicara's approach to Baroque differed somewhat from that of Roldán. He also implemented a wide array of colors but often made use of those that were more traditionally associated with the Renaissance. He also made particular use of elongated bodies and faces, an adaptation to the traditional Baroque and realistic faces seen in Roldan’s work. Artists, especially when dealing with religious art, usually adapted their art to further resemble their target audience. In this case, it might appear as if the elongated faces were put in place to resemble the Ecuadorian populace of the time but this was not the case. Artists would go as far as to use traditional aesthetics such as the ones Roldan used and then simply alter the tone of the sculptures' skin or change the setting to make the target audience indulge in these forms of art. For example, another pioneer in the baroque movement, Caravaggio, often created relatable art that engaged with baroque in order to reach his target audience. One of his most famous counterreformation paintings is the Calling of St Matthew where St Matthew is pictured in a tax collector’s booth. This was one way to make the art relatable to the public. Despite this, the Catholic church still ensured to “[establish] parameters to ensure their [works' efficacy]” (Ripolles 2022). Indigenous Ecuadorians, which were the people this religious type of art was targeted at, were physically different from the individuals Caspicara sculpted. This was used to assert the authority the Church had, and it appears Caspicara, who was of indigenous descent, tried to purposefully distinguish his sculptures to what the average Ecuadorian looked at during that time. This distinction was used as a way, potentially instructed by his patrons, to show the superiority of the Catholic religion and its pertaining individuals. Moreover, feet in Nativity, instead of being used to separate humans and animals, were implemented to humanize the sculptures while still creating this sense of authority. Caspicara's tendency is consistent with that of other artists of the Quito school. Through their sculptures, Roldán and Caspicara not only communicated religious narratives in similar and different ways but also anchored these narratives within their respective cultural landscapes, offering viewers a glimpse into the spiritual and aesthetic values of their times. 

Integrated Comparative Analysis of La Virgen de la Luz by Manuel Chili and St. Michael Vanquishing the Devil by Luisa Roldán

The Baroque period's legacy can both be seen in the sculptures La Virgen de la Luz by Manuel Chili and St Michael Vanquishing the Devil by Luisa Roldan. While each piece is rooted in the Baroque ethos of meticulous detail and emotional intensity, each reveals different facets of the period's approach to religious iconography, influenced heavily by their respective cultural contexts. Roldan’s St. Michael Vanquishing the Devil, captures the viewer's attention immediately by dynamizing and putting the characters in positions of motion. The sculpture is marked by diagonals whether it's in the leg of the devil, St. Michael’s gaze, or the devil's torso. This not only shows movement but also enhances the narrative of the action. This ongoing motion contrasts with Chili’s more static and serene virgin where figures are aligned more vertically portraying tranquility as opposed to conflict.

Classic to the Baroque period, the sculpture of Luisa Roldán expresses elements of motion and drama but also shows the dichotomy found between celestial and terrestrial realms. St. Michael is captured dynamically in a diagonal posture charged with life that animates her work. This dramatic description forms a core part of the Baroque style, which depends on emotional tension and high dynamism. The devil is painted with exaggerated, horrific traits in a defeated posture under St. Michael, adding drama to the scene by its deformity, a vivid representation of evil. The elaborate folds in St. Michael's robes further animate the sculpture, while the interplay of deep colors and shadows vividly capture this divine intervention.

La Virgen de la Luz by Manuel Chili, in contrast, emanates a calming, protective feeling. The position in which the Virgin Mary is presented is verticalizing, emphatically fixing a position of placidity and motherly affection. The expression on the Virgin's face and the gentle embrace of the Christ child are non-confrontational, embodying a profound spiritual significance of nurturing and tranquility. Chili incorporates local garments and indigenous cultural symbols into traditional Christian iconography, thereby creating a deeper engagement with Ecuadorian devotees. The robe is plain but detailed and exudes the general serenity of the sculpture in contraposition to the complex and colorful textures evident in the work of Roldán.

The common thing for both artists is that they show great skills in the treatment of the materials they used. Roldán embodied the complication and detailedness of the Baroque love in each fold and crease of St. Michael's attire through an elaborate textural job. This textural depth not only showcases Roldán’s mastery but also elevates the narrative of divine might and celestial conflict.

In this manner, Chili treats textural detail in a much lighter way, focusing more on the smooth contours that bring about a sense of divinity and qualities of immaculateness in the Virgin. The soft creases in her robe are characteristic of the modesty and purity generally found in the figure of Mary. This differs from the grand and active creases in the image done by Roldán.It is therefore that St. Michael Vanquishing the Devil and La Virgen de la Luz remain to be iconic, capturing the theological and philosophical concerns of this time and this place.

Roldán's work, with its fixation on drama, mimicked the Baroque period in all of Europe with its interest in moral conflict, divine justice, and triumph over evil. It stands public, almost theatrically, as a piece that invites viewer engagement and reflection. It reflects the outside in this sense but still reflects inside in the way people would keep this sculptures on the inside of their homes. On the other hand, La Virgen de la Luz by Chili has a private devotional quality and reflects the syncretic character of religious art in colonial Ecuador. With this blend of indigenous elements and Christian motifs, the sculpture speaks to an authentic, not just Ecuadorian identity, but the identity the artist sought to echo deeply with that of the religious and cultural identity of the locals. Caspicara still challenged this resemblance through the use of elongated faces as mentioned above. These are sculptures that are still bound by the tradition of the Baroque, but still show other facets of the Baroque artistic spirit. Each author embodies similarities and differences to cater their individual desires and target audiences.  These artworks provide invaluable insights into how art serves as a vehicle for spiritual reflection and cultural exchange, aligning universal themes with specific local narratives and traditions. 

In conclusion, by examining the Baroque sculptures of Luisa Roldán and Manuel Chili one can see the similarities and differences in each of their works and styles. This not only shows the rich artistic period these art pieces belonged to but also sets up the scene for the contrasts that existed between these two notable artists. Roldan encapsulates the essence of a more conservative European Baroque art while Caspicara uses elements of such  and molds them to fit his artistic endeavors and local audience. Roldan in her works, such as "St. Michael Vanquishing the Devil," shows the key elements of Baroque art including vividness, folds and color. Capiscara’s sculpture, "La Virgen de la Luz," merged this synthesis, projecting his own baroque work that evokes a greater sense of calmness through the use of local attire and traditional cultural symbols. 

Through their unique stylistic choices and themes, Roldán and Chili enrich ones own comprehension of how Baroque art acted as a catalyst for cultural interaction. 

References