Editing Baroque (section)

===Baroque in the Spanish and Portuguese Colonial Americas===
{{main|Mexican art#Mexican Baroque|Baroque in Brazil|Andean Baroque|Churrigueresque|New Spanish Baroque|Spanish missions in the Americas}}
<gallery mode="packed" heights="170px">
Igreja de São Francisco de Assis (Ouro Preto, MG) por Rodrigo Tetsuo Argenton.jpg|[[Church of Saint Francis of Assisi (Ouro Preto)]], Minas Gerais, [[Brazil]], by [[Aleijadinho]], 1765–1788
File:Basilica Menor de San Francisco de Asis in Havana 2016.jpg|[[Basilica of San Francisco de Asís, Havana]], Cuba, unknown architect, 1548–1738<ref>{{cite book|url=https://books.google.com/books?id=Um1dDwAAQBAJ&dq=basilica+san+francisco+havana&pg=PT32|title=100 Places in Cuba Every Woman Should Go|author=Conner Gorry|publisher=Travelers' Tales|isbn=978-1-60952-130-1|date=2018}}</ref>
File:Vista de la Fachada del Templo de San Francisco Acatepec 9.jpg|[[Church of San Francisco Acatepec]], San Andrés Cholula, Puebla, Mexico, unknown architect, 17th–18th centuries
File:Catedral metropolitana de Quito - panoramio - Quito magnífico (17).jpg|[[Quito Metropolitan Cathedral]], Quito, Ecuador, by Antonio García and others, 1535–1799
Church in Historic Center - Sucre - Bolivia.jpg|[[Metropolitan Cathedral of Sucre]] in [[Sucre]], Bolivia, 1551–1712
File:Iglesia de Santo Domingo, Santiago, 2017-09-24.jpg|[[Santo Domingo Church, Santiago de Chile|Santo Domingo Church, Santiago]], Chile, unknown architect, 1747–1808<ref>{{cite web|url=http://www.santiagocapital.cl/fichas/home/iglesia-de-santo-domingo/iglesias/|archive-url=https://web.archive.org/web/20160121200744/http://www.santiagocapital.cl/fichas/home/iglesia-de-santo-domingo/iglesias/|archive-date=21 January 2016|title=Iglesia de Santo Domingo|website=Ministry of Tourism of Chile website|language=es}}</ref>
File:Taxco Santa Prisca.jpg|[[Church of Santa Prisca de Taxco]], Taxco, Mexico, by [[Diego Durán]] and [[Cayetano Sigüenza]], 1751–1758{{sfn|Hopkins|2014|p=83}}
File:Iglesia de la Recoleccion - Leon - Nicaragua - 01 (31416391552).jpg|[[Church of la Recolección, León, Nicaragua]], 1786–1788

</gallery>
{{multiple image
|direction = vertical
|align = right
|width =190px
|footer =
|image1 = Compañía de Jesus Décembre 2007 - Vue de Côté.jpg
|caption1 =Façade of the [[Iglesia de la Compañía de Jesús, Cusco|Jesuit Church of Cusco]], Peru, by Jean-Baptiste Gilles and Diego Martínez de Oviedo, 1576–1668<ref>{{cite book|url=https://books.google.com/books?id=7rIaCgAAQBAJ&q=church+of+the+society+of+jesus+cusco&pg=PT247|page=608|title=Gardner's Art through the Ages: The Western Perspective|volume=2|author=Fred S. Kleiner|edition=Fifteen|year=2010|isbn=978-1-305-64505-9|publisher=[[Cengage]]|location=Boston}}</ref>
|image2 =Fresque église huaro.JPG
|caption2 = Preserved colonial wall paintings of 1802 depicting Hell,<ref>{{cite book|url=https://books.google.com/books?id=A6nutjzmxvkC&q=historia+colonial+de+cusco&pg=PA382|page=106|title=The Colonial Andes: Tapestries and Silverwork, 1530–1830|author1=Elena Phipps|author2=Joanna Hecht|author3=Cristina Esteras Martín|date=2004|publisher=[[Metropolitan Museum of Art]]|location=New York|isbn=0-300-10491-X}}</ref><ref>{{cite book|url=https://books.google.com/books?id=Vpi5xwEACAAJ&q=SEBASTI%C3%81N+L%C3%93PEZ,+Santiago.+El+barroco+iberoamericano+1990|title=El bárroco iberoamericano. Mensaje iconográfico|date=1990|location=Madrid|page=241|publisher=Ediciones Encuentro|author=Santiago Sebastián López|isbn=978-84-7490-249-5}}</ref><ref>{{cite web|url=https://mavcor.yale.edu/conversations/collections/painting-beyond-frame-religious-murals-colonial-peru|title=Painting Beyond the Frame: Religious Murals of Colonial Peru|author=Ananda Cohen Suarez|date=May 2016|publisher=MAVCOR of the [[Yale University]]}}</ref> by Tadeo Escalante, inside the Church of San Juan Bautista in [[Huaro District|Huaro]], Peru
}}
Due to the colonization of the Americas by European countries, the Baroque naturally moved to the [[New World]], finding especially favorable ground in the regions dominated by [[Spanish America|Spain]] and [[Portuguese America|Portugal]], both countries being centralized and irreducibly Catholic monarchies, by extension subject to Rome and adherents of the Baroque [[Counter-Reformation]]. European artists migrated to America and made school, and along with the widespread penetration of [[Christian mission|Catholic missionaries]], many of whom were skilled artists, created a multiform Baroque often influenced by popular taste. The [[Criollo (people)|Criollo]] and [[Indigenous peoples of the Americas|indigenous]] crafters did much to give this Baroque unique features. The main centres of American Baroque cultivation, that are still standing, are (in this order) [[Mexico]], [[Peru]], [[Brazil]], [[Cuba]], [[Ecuador]], [[Colombia]], [[Bolivia]], [[Guatemala]], [[Nicaragua]], [[Puerto Rico]] and [[Panama]].
[[File:Honduran spanish colonial catholic painting.jpg|thumb|278x278px|Painting inside an 18th-century church in Honduras.]]
Of particular note is the so-called "Missionary Baroque", developed in the framework of the Spanish reductions in areas extending from Mexico and southwestern portions of current-day United States to as far south as Argentina and Chile, indigenous settlements organized by Spanish Catholic missionaries in order to convert them to the Christian faith and acculturate them in the Western life, forming a hybrid Baroque influenced by Native culture, where flourished Criollos and many indigenous artisans and musicians, even literate, some of great ability and talent of their own. Missionaries' accounts often repeat that Western art, especially music, had a hypnotic impact on foresters, and the images of saints were viewed as having great powers. Many natives were converted, and a new form of devotion was created, of passionate intensity, laden with mysticism, superstition, and theatricality, which delighted in festive masses, sacred concerts, and mysteries.<ref>{{cite book|author1=Thomas da Costa Kaufmann|chapter-url=https://books.google.com/books?id=Hzbsz3TOsZAC&pg=PA274|chapter=12 / East and West: Jesuit Art and Artists in Central Europe, and Central European Art in the Americas|title=The Jesuits: Cultures, Sciences, and the Arts, 1540–1773, Volume 1|editor=John W. O'Malley|editor2=Gauvin Alexander Bailey|editor3=Steven J. Harris|editor4=T. Frank Kennedy|publisher=University of Toronto Press|date=1999|pages=274–304|isbn = 978-0-8020-4287-3}}</ref><ref>{{cite book|author=Gauvin Alexander Bailey|url=https://books.google.com/books?id=6-sWGjwVmEQC&q=missions+jesuits&pg=PA1|title=Art on the Jesuit Missions in Asia and Latin America, 1542–1773|publisher=University of Toronto Press|date=1999|isbn = 978-0-8020-8507-8|pages=4–10}}</ref>

The Colonial Baroque architecture in the Spanish America is characterized by a profuse decoration (portal of [[Church of San Felipe Neri "La Profesa"|La Profesa Church]], Mexico City; façades covered with [[Talavera pottery|Puebla-style]] [[azulejo]]s, as in the [[Church of San Francisco Acatepec]] in [[San Andrés Cholula]] and [[Convent Church of San Francisco, Puebla]]), which will be exacerbated in the so-called [[Churrigueresque]] style (Façade of the Tabernacle of the [[Mexico City Metropolitan Cathedral]], by [[Lorenzo Rodríguez]]; [[Museo Nacional del Virreinato|Church of San Francisco Javier, Tepotzotlán]]; [[Church of Santa Prisca de Taxco]]). In Peru, the constructions mostly developed in the cities of [[Lima]], [[Cusco]], [[Arequipa]] and [[Trujillo, Peru|Trujillo]], since 1650 show original characteristics that are advanced even to the European Baroque, as in the use of [[Wall padding|cushioned walls]] and [[solomonic column]]s ([[Iglesia de la Compañía de Jesús, Cusco]]; [[Basilica and Convent of San Francisco, Lima]]).<ref>{{cite web|url=https://www.iberlibro.com/Historia-Arte-Cou-Jos%C3%A9-Maria-Azcarate/30142498322/bd|author1=José Maria Azcarate Ristori|author2=Alfonso Emilio Perez Sanchez|author3=Juan Antonio Ramirez Dominguez|title=Historia Del Arte|date=1983}}</ref> Other countries include: the [[Metropolitan Cathedral of Sucre]] in Bolivia; [[Cathedral Basilica of Esquipulas]] in Guatemala; [[Tegucigalpa Cathedral]] in Honduras; [[León Cathedral, Nicaragua|León Cathedral]] in Nicaragua; the [[Church of la Compañía de Jesús, Quito]], Ecuador; the [[Church of San Ignacio, Bogotá]], Colombia; the [[Caracas Cathedral]] in Venezuela; the [[Cabildo of Buenos Aires]] in Argentina; the [[Santo Domingo Church, Santiago de Chile|Church of Santo Domingo]] in [[Santiago]], Chile; and [[Havana Cathedral]] in Cuba. It is also worth remembering the quality of the churches of the [[Jesuit Missions of Chiquitos|Spanish Jesuit Missions in Bolivia]], [[Jesuit Missions of La Santísima Trinidad de Paraná and Jesús de Tavarangue|Spanish Jesuit missions in Paraguay]], the [[Spanish missions in Mexico]] and the [[Spanish missions in California|Spanish Franciscan missions in California]].<ref>{{cite book|url=https://www.iberlibro.com/DICCIONARIO-ENCICLOPEDICO-LAROUSSE-12-TOMOS-VV.AA/1337306759/bd|title=Diccionario Enciclopedico Larousse. 12 Tomos.|author=Larousse|publisher=Editorial Planeta|date=1990|location=Barcelona}}</ref>

In [[Brazil]], as in the metropolis, [[Portugal]], the architecture has a certain [[Italian Baroque architecture|Italian influence]], usually of a [[Francesco Borromini|Borrominesque]] type, as can be seen in the [[Co-Cathedral of Recife]] (1784) and [[Church of Nossa Senhora da Glória do Outeiro]] in [[Rio de Janeiro]] (1739). In the region of [[Minas Gerais]], highlighted the work of [[Aleijadinho]], author of a group of churches that stand out for their curved planimetry, façades with concave-convex dynamic effects and a plastic treatment of all architectural elements ([[Church of São Francisco de Assis, Ouro Preto]], 1765–1788).