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Angel with the Trumpet of the Last Judgement
Cano, Alonso
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Cano, Alonso

Granada, 1601 - Granada, 1667

Cano, Alonso See author's file

Angel with the Trumpet of the Last Judgement

1660 - 1667. Wash, Pencil on yellow laid paper.
Not on display

An adolescent angel with his wings spread out is playing a trumpet. He holds it in his right hand, while the left hand rests on a cloud. The relation between this drawing and the following works: an imitation of Angel flying with Trumpet (previously in Gijón, Collection of the Institute of Jovellanos, destroyed in 1936), paintings of Saint Jerome (P627), around 1660, as well as the Angel playing the Trumpet, around 1660 (Museo de Bellas Artes, Granada) in which the same, or a similar angel appears; suggests that it represents a figure from Cano’s repertoire, which could be adapted to various compositional contexts.

As Wethey notes, some of the strokes are thicker. This effect could be the result of a later tracing in order to transfer the design to another surface. The delicate quality of the lines of the wings, as well as the decorative elegance of the figure, places this drawing firmly within Cano’s autograph works. The drawing previously located in Gijón is a very meticulous imitation, and judging from what can be determined from the adjusted measurements taken from the photographs, the figures were exactly the same size. This fact strongly suggests the possibility that the lost imitation was, in fact, an exact replica of the work in the Prado. It is even possible that it had been reproduced in Cano’s workshop before he had included the final touches to this autograph drawing. There is one correction or revision in the folds of the fabric, situated above the upper part of the angel’s arm.

In relation to the two paintings of Saint Jerome and the Angel Playing the Trumpet, the drawing in the Prado should be considered as a ricordo rather than a study for the Granada canvas. Careful observation of the painting reveals a series of compositional changes that were executed while the angel was painted and that can be observed in the drawing at the Prado. Furthermore, the angel was moved down from a position that was much closer to the upper edge of the canvas. In fact, the original position of the angel in the painting in Granada was closer to that of the angel in the Prado composition.

Until an in-depth comparative analysis of the paintings is carried out for the purpose of clarifying the relationship between them, the following hypothesis can be proposed: the painting in the Prado is the first existing interpretation of the theme. It may reflect an earlier state of the Granada painting: a version made while the Granada canvas was still being painted. Later on, Cano conducted important changes to the painting in Granada. However, only those around the angel can be visually confirmed. The modified angel is reflected in the drawing in the Prado.

Veliz, Zahira, Alonso Cano (1601-1667): dibujos, Santander, Fundación Marcelino Botín, 2009, p.384-387; nº 79


Technical data

Inventory number
Cano, Alonso
Angel with the Trumpet of the Last Judgement
1660 - 1667
Wash; Pencil
Yellow laid paper
Height: 122 mm; Width: 168 mm
Royal Collection

Bibliography +

Sánchez Cantón, Francisco Javier, Dibujos Españoles.Vol. IV. Alonso Cano, IV, Hauser y Menet, Madrid, 1930, pp. 319.

Martinez Chumillas, Manuel, Alonso Cano: estudio monográfico de la obra del insigne que fue de la catedral de Granada, Carlos Jaime, Madrid, 1949, pp. 137-138.

Wethey, Harold, Alonso Cano's drawings, The Art bulletin, 34, 1952, pp. 234.

Stubbe, W., Spanische Zeichnungen Von el Greco Bis Goya, Hamburger Kunsthalle, Hamburgo, 1966, pp. nº 55.

Pérez Sánchez, Alfonso E., Catalogo de la Coleccion de Dibujos del Instituto Jovellanos..., [s.n], Madrid, 1969, pp. 31.

Museo Nacional del Prado, Catálogo de dibujos Vol. I. Dibujos españoles, siglos XV-XVII / por A. E. Pérez Sánchez, Madrid, 1972, pp. 61-62.

Wethey, Harold, Alonso Cano: pintor, escultor y arquitecto, Alianza Editorial, Madrid, 1983, pp. 167, nº 61 / lám. 122.

Véliz, Zahira, Alonso Cano's Drawings and Related Works, Courtald Institute-London Univ., Londres, 1998, pp. nº 67.

Alonso Cano dibujos, Museo Nacional del Prado, Madrid, 2001, pp. 181, nº 69.

Veliz, Zahira, Alonso Cano (1601-1667): dibujos, Fundación Marcelino Botín, Santander, 2009, pp. 384-387; nº 79.

Hoffman-Samland, Jens, 'Alonso Cano.Proyecto de decoración festiva con volutas ornamentales, coronada por la figura de la Fama'. En:, Dibujos españoles en la Kunsthalle de Hamburgo, Museo Nacional del Prado Meadows Museum, Southern Methodist Univ. Hamburger Kunsthalle, Madrid, 2014, pp. 66 nt.1.

Other inventories +

Inv. Real Museo, 1857. Núm. 107.

Inv. General, Sección 3ª. Dibujos, grabados, acuarelas y miniaturas, 1879. Núm. 10.

Inv. Dibujos, Fondo Antiguo. Núm. 63.

Inscriptions +

Inscribed. Front, upper left corner

(2) [entre paréntesis y tachado]
Inscribed. Front, upper left corner

4 R [muy borrado y con otras inscripciones superpuestas]
Inscribed in pen and ink. Front, lower central area

(5) [entre paréntesis y muy borrado]
Inscribed. Front, upper right corner

SC IV CCCXIX [muy borrado]
Inscribed. Front, lower right corner

[¿Alonso?] [Tachado y borrado]
Inscribed. Front, lower right corner

Alonso Cano [letra del siglo XVII; el nombre y el apellido están escritos con dos tipos de tinta diferentes]
Inscribed in pen and ink. Front, lower central area

Inscribed. Front, lower right corner

6 [3]
Inscribed in pen and ink. Front

S·C - IV - CCXIX [sobre el paspartú]

Displayed objects +


Update date: 21-05-2022 | Registry created on 28-04-2015

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