Santo (art) - History

History

Icons and other religious images were crucial for the conversions of indigenous peoples to Roman Catholic Church, which was itself an integral part of the Spanish colonization of the Americas. However, long distances, inefficient methods of transportation, and high demand for such artworks limited the ability of ecclesiastical authorities to supply parish churches, especially those in remote outposts, with works of religious art from the Kingdom of Spain.

The practice of creating Santo objects began in Spain, where mannequin style religious images were commonly vested in ornate religious clothing, often expensive and funded by religious devotees. An early known example is the 1555 statue of Infant Jesus of Prague, already vested during the time of Saint Teresa of Avila. Customarily, jewels are various accessories were also added onto the image, a tradition still presently carried today.

Santo images are also common throughout Latin America and the Caribbean, while the tradition of santo carving was preserved as a folk art in Northern New Mexico, whose isolated villages remain secluded to this day. Of particular note is the village of Cordova which has produced several well-known Santeros (carvers of santos). A major one was George López, who was awarded the National Heritage Fellowship by the National Endowment for the Arts in 1982.

Santo statues are commonly known as revultos or informally as bultos. They are usually carved from cottonwood root, pine or aspen. A Santero carves a bulto with a knife and then covers it with gesso, a mixture of native gypsum and glue, to prepare it for painting. Some contemporary santeros still use paints from homemade pigments.