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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

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 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

Cristo flagelado, recogiendo sus vestiduras
Pencil ground, Ink, Grey-brown wash on green paper. 1645 - 1650
Cano, Alonso
Cristo flagelado, recogiendo sus vestiduras
Pencil ground, Ink, Grey-brown wash on green paper. 1645 - 1650
Cano, Alonso

Nude, Christ leans over to the right while holding his tunic. The whipping post and whips are visible in the background to the left. This is a preparatory work for the canvas at the Academy of San Fernando, which Wethey considers a workshop piece. It is completely repainted. Highlights have been added with white brushstrokes, the contours have been emphasized and a thick wash has been applied to t

Saint Elizabeth with Infant Saint John
Charcoal on laid paper. Ca. 1645
Cano, Alonso
Saint Elizabeth with Infant Saint John
Charcoal on laid paper. Ca. 1645
Cano, Alonso

This sketch, due to its close resemblance to Getafe’s canvas depicting the same theme and painted by Cano in 1645, has been identified as Saint Elizabeth with Infant Saint John. Saint Elizabeth is depicted standing, in a marked contrapposto. She holds her chunky son at waist level to her right. The reflective and intimate tone of the composition can be better identified in the drawing. On the canv

The Virgin standing, looking up to the right
Pencil, Pencil ground, Grey-brown wash on yellow laid paper. 1645 - 1650
Cano, Alonso
The Virgin standing, looking up to the right
Pencil, Pencil ground, Grey-brown wash on yellow laid paper. 1645 - 1650
Cano, Alonso

This drawing, probably a fragment of a finished composition for a Calvary, depicts the Virgin in a pronounced contrapposto position, looking to her right and slightly upwards, where she once saw her Son on the cross. The technique of this drawing is quintessentially the style of Cano: a slight preparatory sketch, followed by distinct contours and a wide range of lights and shadows, magnificently r

The Annunciation
Pencil, Pencil ground, Grey-brown wash on yellow paper. 1645
Cano, Alonso
The Annunciation
Pencil, Pencil ground, Grey-brown wash on yellow paper. 1645
Cano, Alonso

La delicada belleza que Cano podía lograr a cualquier escala es claramente evidente en este dibujo de composición acabada. El ángel Gabriel acaba de aparecerse a la Virgen, y se ha posado en tierra con un gesto a la vez declamatorio y reverencial. Se arrodilla en la parte inferior izquierda, sosteniendo una rama de lirio en la mano izquierda y alzando el índice de la mano derecha. La Virgen está a

Saint Joseph and the Christ Child
Pencil, Grey-brown wash on yellow laid paper. 1645 - 1650
Cano, Alonso
Saint Joseph and the Christ Child
Pencil, Grey-brown wash on yellow laid paper. 1645 - 1650
Cano, Alonso

Este hermoso dibujo acabado muestra a San José y al Niño caminando por un paisaje, con un árbol situado a la derecha, justo detrás de San José. El Niño Jesús lleva una gran cesta y San José, una vara. San José sujeta al pequeño por la muñeca, un detalle específico que se da en algunas versiones de este tema realizadas por Cantarini, Elsheimer y Sánchez Cotán. Es posible que Cano hubiera visto algu

Female Nude
Pencil, Grey-brown ink, Wash on laid paper. 1645 - 1650
Cano, Alonso
Female Nude
Pencil, Grey-brown ink, Wash on laid paper. 1645 - 1650
Cano, Alonso

In this superb drawing acquired in 1997, two different and independent motives are overlapped. The main one is a nude woman on a bed, but arches and architectural elements have been drawn over it. The woman is not lying down, as is customary in this type of image. Instead, she is reclining, and that generates a very special tension between her expression of receptive abandon and a position that su

Saint John the Evangelist in Patmos
Pencil, Pencil ground, Ink, Grey-brown wash on yellow laid paper. 1635 - 1645
Cano, Alonso
Saint John the Evangelist in Patmos
Pencil, Pencil ground, Ink, Grey-brown wash on yellow laid paper. 1635 - 1645
Cano, Alonso

This drawing depicts Saint John in maturity (he may be depicted in youth or old age). He appears seated to the left, possibly on the roots of a tree, holding a writing tablet. Nevertheless, he is not looking at the tablet, but he fixes his gaze towards the eagle, his emblem. The intense abstraction of his face possibly denotes his visionary state. The elements of Saint John’s vision, in other term

Saint Clare
Pencil, Grey-brown wash on yellow laid paper. Ca. 1652
Cano, Alonso
Saint Clare
Pencil, Grey-brown wash on yellow laid paper. Ca. 1652
Cano, Alonso

Saint Clare is depicted standing. She holds a crosier in her left hand., representing her authority as foundress of the Order of the Poor Ladies of Saint Clare. With her right hand, she raises a monstrance; one of the eucharistic attributes also associated with Saint Clare, and gazes at it attentively. There is little indication of landscape and horizon in the background. The absence of any other

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