Antonio Caro

Colombian conceptual art of the early 1970s emerged at a time that, internationally, conceptual art seemed to be the new avant-garde, and it was considered within Colombia as forming part of that new avant-garde. Examining the ways in which Colombian conceptual artists created their work in critical dialogue with international conceptualism will complement recent studies that explain Latin American conceptualism as distinct from European and United States conceptual art due to its definitively political profile. Yet this art cannot be explained solely vis-à-vis international conceptualism. To understand why it emerged and how it differs from conceptualism elsewhere, it must be seen within political context of Colombia, which was an environment marked by the growth of left-wing guerrilla groups and social protest wherein intellectuals, especially within Colombia’s National University, were questioning their role in fostering political revolution.

En Archivo de Arte Valenciano, 2018, nº 99, pp. 59-73.

RESUMEN
Tradicionalmente se ha convenido en señalar que la iglesia de santa María de Elche contaba, hacia 1675, con un retablo que para algunos inauguraba la implantación de la columna salomónica en la zona alicantina. En este estudio se presenta la documentación que confirma su autoría por parte de Antonio Caro I “el Viejo”, y Tomás Sanchis, asociados para ello en compañía artística. Además, se desvela la verdadera historia de la obra en el contexto constructivo de la iglesia y se aporta nueva información sobre los escultores que de alguna manera estuvieron vinculados a ella, como José Villanueva, Pedro Juan Tahuenga o Nicolás de Bussy.
Palabras clave: Elche / Retablo barroco / Columna salomónica / Antonio Caro / Tomás Sanchis

ABSTRACT
Traditionally, it has been claimed that the church of Santa María (Elche) had, around 1675, an altarpiece that for some researchers was the first in the use of the Solomonic column in the Alicante’s area. This paper presents the documents that confirm its authorship by Antonio Caro I, “el Viejo”, and Tomás Sanchis. In addition, we offer the really history of the work and we provide new information about the sculptors who somehow were linked to it, such as José Villanueva, Pedro Juan Tahuenga or Nicolás de Bussy.
Keywords: Elche / Baroque altarpiece / Solomonic column / Antonio Caro / Tomás Sanchis