Buen Gusto During the Hispanic Enlightenment
Buen gusto, meaning “good taste”, was a refined, orderly, and neoclassical aesthetic that was promoted in Spain and Spanish America during the late 18th century. During the Enlightenment, ideals of neoclassicism and Greco-Roman align with how buen gusto came to be. Some defining characteristics are its symmetry, clarity, pleasantness to the eye, as well as a shift toward uniform compositions. This exhibit explores “buen gusto” not only as an aesthetic, but also the culture and sociopolitical impact it had in the Hispanic world. Buen gusto became a cause for polished judgment, relating to what nobles found best. The idea turned into a movement pushed on to vice royalties to get them to follow the guidelines of buen gusto. Buen gusto was linked to the Enlightenment through the perspective of order and rationality. The movement was a vehicle for class distinction by associating loyalty to European styles with high society identity. Through the bourbon reforms, individuals sought to elevate society through “good taste” using art, architecture, and iconography. The taste relates to neoclassical and Greco-Roman themes, including harmonious proportions, idealized forms, and classical restraint. In one of the photos in this exhibit, Alegoría de la Historia, the image is an embodiment of enlightenment allegory as well as academic rules of composition. The symmetry of the painting reveals the order of it and how the standard of buen gusto was applied. In Manuel Tolsá’s Equestrian Sculpture of Charles IV, the sculpture displays Roman style and classical inspiration. The dignified portrayal of Charles IV signifies his authority and power, as well as his placement within the classical and symmetrical design of the plaza. Buen Gusto, in theory, performed better than in practice. In theory, it was aesthetic discernment and became part of the enlightenment, as well as a discourse in modern society. On the other hand, in practice, it was more complicated; buen gusto was considered a sociopolitical phenomenon. It was manipulated according to what people wanted to describe themselves, causing it to produce social anxiety. Acquiring “good taste” eventually became a form of elite cultural capital. Buen gusto could be manipulated by individuals seeking to craft their social identity, whether they were aristocrats, colonial administrators, or Creole elites. People began to fear that they would be perceived as “vulgar,” or “old-fashioned,” or less enlightened than their peers. In the image attributed to Manuel Samaniego, Portrait of Barón de Carondelet, elite self-fashioning is depicted in a colonial society. Neoclassical restraint is used to show authority, refinement, and alignment with the Enlightenment government. This style traveled between Spain and the Americas, even though it was rooted in European academies; buen gusto evolved within a colonial context. Buen gusto was more than just a style; it was a language used through different areas of power, identity, and cultural hierarchy. Its presence still shapes museum collections, national symbols, and ideas of “refined art”. Throughout the exhibit, examples are shown of how buen gusto was applied in different contexts.
Title: Equestrian Sculpture of Charles IV
Artist: Manuel Tolsá
Date: 1803
Materials: Bronze
Present Location: Mexico City, Mexico
The object is a monumental bronze equestrian statue created in New Spain. It exemplifies buen gusto through the refined, rational, and orderly neoclassical aesthetic promoted across Spain and Spanish Americas in the late 18th century. This monument was commissioned to honor King Charles IV during the Bourbon Reforms. The sculpture reflects enlightenment ideals shaped by Spanish Imperial administrators and Creole elites, including the introduction of European academic training in New Spain. Tolsa was hired as director of sculpture at the Royal Academy of San Carlos in 1790. The creation of this statue marked a significant moment in New Spain’s artistic history, bridging European artistic traditions and the evolving cultural identity of the Americas. The monument serves as a testament to the technical mastery of its maker and the ambitions of a society eager to align with Enlightenment values. Its public placement was meant to inspire civic pride and reflect the modernizing aspirations of the Bourbon Reforms. The artistic characteristics of the sculpture connect it to Enlightenment ideals as well as buen gusto. Principles of balance, clarity, and idealized forms are all highlighted. The controlled emotion of the piece references Roman styles. Manuel Tolsá’s mastery of European sculpture and his adherence to classical monuments demonstrate his authority at the Royal Academy. The calm, controlled posture of the horse contrasts with more dramatic earlier sculptures, while the idealized depiction of Charles IV—with a smooth surface and restrained gesture—emphasizes buen gusto. The harmony of proportions and the engineering of the sculpture display the power of this style. Its central, symmetrical placement in Mexico City’s main plaza projected imperial authority and visually asserted the Enlightenment values of order, reason, and refinement that defined buen gusto in New Spain.
Artist: Francisco Bayeu (1734–1795)
Title: Alegoría de la Historia
Date: Late 18th century
The painting is an allegorical work attributed to Spanish court painter Francisco Bayeu, created in the late 18th century. The work itself personifies history rather than a specific historical event. History is presented as a symbolic female figure in the painting. Versions of this painting varied, as Bayeu’s workshop produced many allegorical works to meet the demand for didactic imagery in court and academic circles. During the Enlightenment, such allegories served as visual tools for promoting rational thought, virtue, and civic ideals. Bayeu was a leading figure at the Royal Academy of San Fernando, which set academic art standards, and he frequently collaborated with Francisco Goya. The painting is central to this exhibit because it demonstrates features of neoclassical harmony and order. The theme of history in Enlightenment art was a distinctly neoclassical feature, as it was one of the links back to the Greco-Roman inspiration. The painting’s use of balance within the triangle shows the perspectives of buen gusto, along with its restrained movement. The symmetry and clarity of the painting reinforce ideas of reason and order. The brushstrokes are tight, and the colors are very muted, yet still allow light to be shown. Classical elements shown produce ideas that could be tied back to the European style, where buen gusto had begun to rise from. The role of artists and academies in defining and spreading this aesthetic throughout Spain and its colonies. Classical allegory was considered a marker of “good taste,” prompting Bayeu’s workshop to create many variations. The painting connects to other works in the exhibit through its use of classical references and social symbolism: Bayeu’s female figure is modeled on Greco-Roman ideals, much as Tolsá uses classical proportions in his statue of Charles IV. This painting exemplifies the aesthetic and cultural authority of buen gusto in late 18th-century Spanish art.
Artist: Anton Raphael Mengs
Title: Retrato de Carlos III (1716–1788)
Medium/Date (general): Late 18th century royal portrait
This painting demonstrates how buen gusto is employed in portraiture to depict kings as powerful authorities and to emphasize a dignified posture. For example, Charles III, or “Carlos III,” exemplifies the Enlightenment monarchy. The portrait conveys royal authority through classical restraint, along with defined details and deep colors. Mengs is one of the main architects of buen gusto in academic theory, emphasizing balance and clarity in his works, and utilizing a muted color palette. As a result, the painting presents the king with idealized yet credible realism. It serves as a model of neoclassical taste promoted throughout the empire in the eighteenth century. Furthermore, the use of symmetry and stable composition reinforces Enlightenment order, linking the work to buen gusto. The classical pose and dignified stance also connect the king to ancient rulers, reflecting Mengs’s intended visual message. By avoiding Baroque excess, the portrait aligns with “good taste” reforms. Beyond artistic qualities, it also functions as a political statement, portraying Charles III as rational, enlightened, and compassionate. Buen gusto was instrumental in legitimizing Bourbon reforms and centralizing authority. Thus, the painting operates as cultural propaganda, shaping elite behavior in Spain and its colonies. In comparison to Bayeu’s Alegoría de la Historia, both share a commitment to order and classical ideals. With the perspective of elite self-fashioning, further similarities are shown with Samaniego’s Portrait of Barón de Carondelet, particularly in their use of fashion and neoclassical style to signify high status. Additionally, Mengs’s ideas circulated through academies in Spain and Spanish America, and his portrait style influenced painters, sculptors, and administrators across the empire. Ultimately, the portrait functions as both a work of art and a statement of cultural authority, serving as a central reference point for understanding how buen gusto shaped identity.
Attributed to Manuel Samaniego, Luis Francisco Héctor Barón de Carondelet, late 18th century, Quito
Video to accompany this painting below.