The history of colonial art in the New Kingdom of Granada, which includes present-day Colombia (the primary focus of this bibliography) and parts of modern-day Ecuador and Venezuela, starts with the chroniclers and travelers who registered works of architecture and art through the 19th century. In 1886 the inaugural Exhibition of the School of Fine Arts recognized the artistic value of religious works. At the beginning of the 20th century, the first inventories were made and inquiries about painters and sculptors began. In 1931 Juan Contreras Marqués de Lozoya wrote The History of Hispanic Art (Historia del arte hispánico), which included Spanish America for the first time. By the mid-20th century, foreign professors had visited Colombia to include art from the New Kingdom of Granada in general art history books on the Spanish Americas. Mario Buschiazzo recommended to local authorities and the general public the recognition of original and autonomous works of architecture and the creation of Institutes for Aesthetic Research. The 1960s mark the beginning of the systematic study of art and architecture, and later the iconographic and iconological method was introduced, which led to new interpretations. In 1974 the Colombian government created the National Restoration Center, and in 1975 the Spanish publishing house Salvat published the first Colombian Art History (Historia del arte colombiano), with contributions by several national scholars. The meeting on Latin American Baroque, held in Rome in 1980, guided and stimulated new research. Silvia Arango, in 1990, wrote The History of Architecture in Colombia. At the beginning of the new millennium, art history studies became more specialized. Reviews of the past have led to the careful re-examination of visual models, written sources, and their interpretation. This research has highlighted how the indigenous past, rich in cosmogonies, facilitated the reception of European culture. The first studies on textiles, altarpieces, silverware, jewelry, furniture, ceramics, engraving, and painting, together with analyses of gilders and trade associations, have now been produced. The names of new artists and artistic trades are being discovered. In sister disciplines a similar development has occurred: in architecture, considering new interpretations about constructions and urbanism, scholars have turned their attention to doctrine temples, exchange houses, bridges, and mills. Archaeology is providing useful data for historical research on buildings, urban planning, goldsmithing, and ceramics. Thus, researchers have revealed that the spectrum of artistic production is more complex than originally thought. It was not limited to evangelization through persuasive works, but also supplied the aesthetic and utilitarian requirements of a new society in formation. But colonial art has not yet been properly registered or catalogued. Much remains to be investigated about the artists and their works, and the techniques, materials, and regional contributions are not fully known.
Marcell Benedek. The Double of Mr. Golyadkin
