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Quito School
The Quito School (''Escuela Quiteña'') is a Latin American artistic tradition that constitutes essentially the whole of the professional artistic output developed in the territory of the Royal Audience of Quito — from Pasto and Popayán in the north to Piura and Cajamarca in the south — during the Spanish colonial period (1542-1824).〔Ximena Escudero-Albornoz and Ximena Escudero de Terán. ''América y España en la escultura colonial quiteña: historia de un sincretismo''. Ediciones del Banco de los Andes (1992). ISBN 9978-82-293-3, ISBN 978-9978-82-293-7〕 It is especially associated with the 17th and 18th centuries and was almost exclusively focused on the religious art of the Catholic Church in the country.〔Handelsman, Michael (2000), ''Culture and Customs of Ecuador'' (Series: Culture and Customs of Latin America and the Caribbean; Series editor: Peter Standish); Westport, Connecticut/London: Greenwood Press, pg 125.〕 Characterized by a mastery of the realistic and by the degree to which indigenous beliefs and artistic traditions are evident, these productions were among of the most important activities in the economy of the Royal Audience of Quito.〔Christiana Renate Borchart de Moreno. ''La Audiencia de Quito: aspectos económicos y sociales (siglos XVI-XVIII)''. Editorial Abya Yala (1998). ISBN 9978-72-084-7, ISBN 978-9978-72-084-4〕 Such was the prestige of the movement even in Europe that it was said that King Carlos III of Spain (1716–1788), referring to one of its sculptors in particular, opined: "I am not concerned that Italy has Michelangelo; in my colonies of America I have the master Caspicara".〔Rivas, Julio (2012), (''Un sitio llamado San Francisco'' ); ''Revista Clave!'', Nov-Dec issue. (me preocupa que Italia tenga a Miguel Ángel, en mis colonias de América yo tengo al maestro Caspicara.'' )〕
==Origins==
The Quito School originated in the school of Artes y Oficios, founded in 1552 by the Franciscan priest Jodoco Ricke, who together with Friar Pedro Bedon transformed the San Andrés seminary, where the first indigenous artists were trained. As a cultural expression, it is the result of a long process of acculturation between indigenous peoples and Europeans, and it is one of the richest expressions of miscegenation (''mestizaje'') and of syncretism, in which the participation of the vanquished Indian is seemingly of minor importance as compared to the dominant European contribution.〔Ximena Escudero Albornoz and José María Vargas Arévalo. ''Historia y crítica del Arte Hispanoamericano, Real Audiencia de Quito: (siglos XVI, XVII y XVIII)''. Editorial Abya Yala (2000). ISBN 9978-04-562-7, ISBN 978-9978-04-562-6〕
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