The Quito School is a Latin American colonial artistic tradition that constitutes essentially the whole of the professional artistic output developed in the territory of the Royal Audience of Quito – from Pasto and Popayán in the north to Piura and Cajamarca in the south – during the Spanish colonial period (1542–1824). It is especially associated with the 17th and 18th centuries and was almost exclusively focused on the religious art of the Catholic Church in the country. Characterized by a mastery of the realistic and by the degree to which indigenous beliefs and artistic traditions are evident, these productions were among of the most important activities in the economy of the Royal Audience of Quito. Such was the prestige of the movement even in Europe that it was said that King Carlos III of Spain (1716–1788), referring to one of its sculptors in particular, opined: "I am not concerned that Italy has Michelangelo; in my colonies of America I have the master Caspicara".

The Real Audiencia of Quito was an administrative unit in the Spanish Empire which had political, military, and religious jurisdiction over territories that today include Ecuador, parts of northern Peru, parts of southern Colombia and parts of northern Brazil. It was created by Royal Decree on 29 August 1563 by Philip II of Spain in the city of Guadalajara. It ended in 1822 with the incorporation of the area into the Republic of Gran Colombia.