SESSION: Narrative Plasterwork in the Early Modern World
The session investigates figurative uses of plasterwork that go beyond its ornamental application. Ornamental plasterwork constitutes the majority of surviving examples from early modern times and has dominated art-historical approaches. Yet, plasterwork extends beyond its purely decorative role; its versatility allows for the communication of complex ideological messages whilst retaining its distinctive formal and material aspects. ‘Narrative Plasterwork and the Early Modern World’ provides a platform for investigating the narrative and allegorical uses of the medium. Papers focus on workshop practices, tensions between materiality and iconography, interactions between artists and patrons or the reception of the imagery.
Session Convenors:
Patrícia Monteiro, University of Lisbon
Péter Bokody, University of Plymouth
Session Speakers:
Patrícia Alexandra Rodrigues Monteiro, University of Lisbon
Stucco Art in Sixteenth-Century Alentejo: Techniques and Stylistic Influence
The morphological evolution of stucco during the early modern period progressed through several distinct phases – some marked by exceptional artistic creativity – which often included polychrome and gilded finishes. Today, however, many of these works lie obscured beneath whitewash or later repainting, hindering both their interpretation and their preservation. This paper examines stucco art in sixteenth-century Alentejo through two key case studies: the stucco altarpiece of Gaspar Fragoso’s chapel in the church of São Francisco, Portalegre (1571), and the richly modelled stucco ceilings of the Convent of Nossa Senhora da Luz, Arronches (1595). These rare examples reveal the technical and aesthetic versatility of stucco within a regional artistic landscape more commonly associated with marble, stone, and wood carving. This paper will also address the materials and procedures employed, underscoring the sophistication of their execution despite the complete absence of documentary evidence for the artisans involved. This anonymity prompts broader questions regarding workshop structures, the mobility of craftsmen, and the circulation of specialised knowledge. Compounded by the scarcity of comparable works, these gaps complicate efforts to trace stylistic influences – whether Italian, Flemish, or Spanish – and invite a renewed approach to understanding artistic exchange in the late Renaissance Iberian world. Ultimately, these overlooked stucco ensembles not only expand the material and stylistic vocabulary of the region but also challenge established narratives, urging us to reconsider what constituted artistic prominence in early modern Portugal.
Péter Bokody, University of Plymouth
The Long Arms of Dutch Supremacy – Plasterwork in Southwest England
The presentation investigates the influence of Dutch and Italianate print sources on 17th century plasterwork decoration in Southwest England. This region produced exceptionally rich depictions of episodes from the Old Testament, ranging from Lanhydrock to Prideaux Place. Although the broad influence of Dutch compositions has always been generally acknowledged, the presentation offers new evidence regarding the links between some scenes and print production in Amsterdam. Consolidating the sources for the iconography allows the interpretation of the scenes where the plasterers deviated from the prototypes and reshaped or condensed the compositions and therefore brings us closer to a holistic reading of these cycles.
Martin Krummholz, Palacký University Olomouc
Santino Bussi: Lugano or Viennese Artist?
Santino Bussi (1664–1736) ranks, alongside Baldassarre Fontana (1661–1733) and Francesco Diego Carlone (1674–1750), among the most accomplished and influential High Baroque stucco artists from the Lugano and Lake Como regions. Their work left a decisive mark across Central Europe—today’s Austria, Germany, the Czech Republic, and Poland—and represents a qualitative peak of the period. All three were also distinguished as exceptional figuralists. Drawing on unpublished archival sources, this paper focuses on Santino Bussi, arguably the most successful of the three. His distinctive style and compositional approach set the tone for decades, shaping the work of many Viennese and Central European artists who followed and imitated him. Bussi was also known for demanding exceptionally high remuneration for his work, a fact that underscores both his self-assurance and his recognition of his own artistic stature. Unlike most of his compatriots from the Lugano region, Bussi fully detached himself from his native region and permanently settled in Vienna, where he was appointed Hofstuckateur. This exceptional career trajectory, which culminated in his children’s continued service to the Habsburg court, illustrates an extraordinary case of artistic and social integration. The paper will examine Bussi’s professional relationships, social networks, and the broader context of his career, while also offering comparative insights—based on archival findings—into the contrasting social strategies and destinies of Francesco Diego Carlone.