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Christ Crucified
Oil on canvas. XVII century
Cano, Alonso (Attributed To)
Christ Crucified
Oil on canvas. XVII century
Cano, Alonso (Attributed To)

Saint Anthony of Padua
Oil on canvas. XVII century
Cano, Alonso
Saint Anthony of Padua
Oil on canvas. XVII century
Cano, Alonso

Saint Bernard and the Virgin
Oil on canvas. 1645 - 1652
Cano, Alonso
Saint Bernard and the Virgin
Oil on canvas. 1645 - 1652
Cano, Alonso

This scene from the life of Saint Bernard (twelfth century), depicts the moment when the saint received a stream of milk from a statue of the Virgin and Child, on the altar. A Cardinal watches the miracle with his hands joined in prayer. This work combines a monumental sense of forms with a very delicate treatment of color, which are the characteristics Cano´s painting acquired after he got to kno

Saint Peter liberated by an Angel
Oil on canvas. 1652 - 1657
Cano, Alonso
Saint Peter liberated by an Angel
Oil on canvas. 1652 - 1657
Cano, Alonso

Saint Peter was sleeping when an angel woke him in order to break his chains and release him from prison. The stone block on which the saint is sleeping and the keys and sandals on the floor are his identifying attributes. The painting’s unusual format reflects its original function as an over-door in the convent of the Ángel Custodio (Guardian Angel) in Granada.

Saint John the Evangelist in Patmos
Oil on canvas. Second half of the XVII century
Cano, Alonso (Attributed To)
Saint John the Evangelist in Patmos
Oil on canvas. Second half of the XVII century
Cano, Alonso (Attributed To)

The holy evangelist sits on a boulder with a book in his hands. He looks to the heavens where a tenuous light reveals a vision of the woman and dragon of the Apocalypse. The composition is similar to José de Ribera´s Saint Jerome Hearing the Trumpets of the Last Judgement, while the young evangelist´s facial features recall those of Saint John the Evangelist from the Apostolate

The Dead Christ supported by an Angel
Oil on canvas. 1646 - 1652
Cano, Alonso
The Dead Christ supported by an Angel
Oil on canvas. 1646 - 1652
Cano, Alonso

Cano lived in Madrid on two different occasions. The first (1638-1651), during which he was able to study the Royal Collection, absolutely transformed his concept of color and brushstrokes. Contact with Flemish and Italian painting, as well as his friendship with Velázquez, were determinant in that radical change. The present Dead Christ Supported by an Angel belongs to the end of that stay

The penitent Saint Jerome
Oil on canvas. Ca. 1660
Cano, Alonso
The penitent Saint Jerome
Oil on canvas. Ca. 1660
Cano, Alonso

Saint Jerome was meditating in solitude when an angel sounding the trumpet of the Last Judgment appeared to him. This was a particularly popular subject with seventeenth-century artists and Alonso Cano made use of it to show his skills in the description of the angel’s foreshortened body as well as his interest in depicting the colourful, luminous landscape that opens out on the left.

Christ the Saviour appears to Saint Teresa
Oil on canvas. 1629
Cano, Alonso
Christ the Saviour appears to Saint Teresa
Oil on canvas. 1629
Cano, Alonso

This scene is based on Las moradas [The mansions] (1588), the text by the Saint in which she describes her “spiritual marriage” to Christ. Like its pair (P8152), this canvas was part of the altarpiece of Saint Teresa in the monastery of San Alberto in Seville. Both were painted in the same year that Zurbarán executed The Apparition of Saint Peter to Saint Peter Nolasco, which shares the vis

Saint Benedict's Vision of the Globe and the three Angels
Oil on canvas. 1658 - 1660
Cano, Alonso
Saint Benedict's Vision of the Globe and the three Angels
Oil on canvas. 1658 - 1660
Cano, Alonso

A native of the province of Nursia, the holy abbot that founded the Benedictine Order in the sixth century appears inside his cell, where he witnesses the apparition of a globe held by three angels in the presence of the Trinity. This work denotes the Venetian influences which Cano absorbed in court, allowing him to create a canvas characterized by a magnificent use of paint, resolving colors with

The Crucifixion
Oil on canvas. 1635 - 1665
Cano, Alonso
The Crucifixion
Oil on canvas. 1635 - 1665
Cano, Alonso

The crucifix is probably the most characteristic image in Christian iconography, and it was certainly one of the most widely depicted and owned in the Spain of the Habsburg monarchs. Sculptures or paintings of Christ on the cross, in their many different forms, were used for private devotion in laypeople’s houses and were displayed in nearly all churches and chapels of the time. Subjects related t

The Virgin and Child
Oil on canvas. 1645 - 1652
Cano, Alonso
The Virgin and Child
Oil on canvas. 1645 - 1652
Cano, Alonso

With its very straightforward composition, this painting has the serenity and restfulness that characterize many of Alonso Cano´s religious works. The painter´s skill at assimilating the most varied influences is evident here: the composition is based on a well-known religious print by Dürer, while the palette bears a certain resemblance to Titian´s, and the Virgin is quite close to Rafael´s

The Dead Christ supported by an Angel
Oil on canvas. 1646 - 1652
Cano, Alonso
The Dead Christ supported by an Angel
Oil on canvas. 1646 - 1652
Cano, Alonso

In this painting, an angel with a sorrowful expression supports the body of Christ in an upright, seated position. The clearly visible wounds on Christ´s hands indicate He has already been crucified and has died. The bloodless colour of the limbs and bowed head add to a cadaverous appearance. At His feet, the washbasin, the two nails and the crown of thorns all evoke the recent crucifixion. The an

Two Kings of Spain
Oil on canvas. Ca. 1641
Cano, Alonso
Two Kings of Spain
Oil on canvas. Ca. 1641
Cano, Alonso

Along with P00632, this is the only surviving testimony to the series of likenesses of kings that adorned the monarch’s bedroom or Room of Furies at the Alcázar in Madrid, and was later at the Hall of Comedies or Golden Hall. The painters commissioned for this series were: Félix Castello, Jusepe Leonardo, Antonio Arias, Francisco Camilo, Francisco Fernández, Pedro Nú&nt

The crucified Christ appears to Saint Teresa of Avila
Oil on canvas. 1629
Cano, Alonso
The crucified Christ appears to Saint Teresa of Avila
Oil on canvas. 1629
Cano, Alonso

In The Interior Castle Saint Teresa wrote that: "The Lord represented himself to her, just after she had received Communion, in the form of shining splendour, beauty, and majesty, as he was after his resurrection, and told her that now it was time that she consider as her own what belonged to him and that he would take care of what was hers." Together with its pair (P8153), this canvas is an inter

The Miracle of the Well
Oil on canvas. 1638
Cano, Alonso
The Miracle of the Well
Oil on canvas. 1638
Cano, Alonso

A depiction of one of the miracles of Saint Isidore the Laborer (12th century), the patron saint of Madrid, who made many miracles. Here, after his son had fallen into a well, the water miraculously rose to the top, carrying the child up with it, thanks to his fathers´ prayers, and those of his mother, Saint Mary of the Head. Cano stands out for his rapid brushstrokes and very rich palette, which

The Virgin and Child
Oil on canvas. 1645 - 1652
Cano, Alonso
The Virgin and Child
Oil on canvas. 1645 - 1652
Cano, Alonso

Technical studies carried out at the Museo del Prado confirm Alonso Cano as the author of this Virgin of the Star, which belongs to the Museo del Prado but has been on loan to the Museo del Bellas Artes de Granada since 1958. Cano’s hand in this work had been questioned by the maximum authority on this artist, hispanist Harold E. Wethey. In his exhaustive monograph from 1955, Wethey considered it

The Stigmata of Saint Francis
Oil on canvas. Ca. 1651
Cano, Alonso
The Stigmata of Saint Francis
Oil on canvas. Ca. 1651
Cano, Alonso

This canvas was part of the decoration of the chapel dedicated to that saint at the Franciscan convent of Santa María de Jesús (known as San Diego de Alcalá) in Alcalá de Henares. Part of its considerable interest is that it may be considered a fine example of the artist’s Madrid period, around 1650-52, when he made some of his finest works. Stylistically, it is probabl

A king of Spain
Oil on canvas. Ca. 1640
Cano, Alonso
A king of Spain
Oil on canvas. Ca. 1640
Cano, Alonso

Designed to be viewed from below, this painting and P633 were part of a series on the dynasty of Castile and Leon that various artists painted for the king´s bedroom or Furies Room at the Alcázar in Madrid. The series ran between his bedroom and the adjacent Golden Hall, and was painted between 1639 and 1641.Vicente Carducho is known to have made a model which all of the other paintin

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