Abstract
Despite wood carving—polychrome and worked with estofado technique—being the most important technique in the Neogranadine art of the Modern Age, we must not ignore the great material wealth that for a long time has been disregarded in current historiographic studies. In the present paper we aim to overcome this reductionist vision. which we are now able to qualify thanks to the examination of some surviving material remains and above all of the existing archival documentation. We will focus our attention on those sculptural pieces obtained by modelling processes. Our concern with the materiality of the work—the first source of information for the art historian—is a reflection essential to achieving a correct and integral analysis of the artistic object.
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