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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

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

The Virgin interceding for Humanity
Pencil, Pencil ground, Grey-brown wash on yellow laid paper. Ca. 1665
Cano, Alonso
The Virgin interceding for Humanity
Pencil, Pencil ground, Grey-brown wash on yellow laid paper. Ca. 1665
Cano, Alonso

Among the works in Antonio Palomino’s collection were a series of small composition drawings by Alonso Cano. These fall within an important decorative programme for the convent of Santa Cruz la Real de Granada and narrate the life of Saint Dominic. A text by Palomino constitutes the first reference to Cano’s drawings: ‘And at that time, he produced all the drawings for the paintings in the cloiste

The Virgin and Child with Angels
Pencil, Pencil ground, Grey-brown wash on yellow laid paper. Ca. 1665
Cano, Alonso
The Virgin and Child with Angels
Pencil, Pencil ground, Grey-brown wash on yellow laid paper. Ca. 1665
Cano, Alonso

El motivo central de este dibujo –la Virgen con el Niño de pie- guarda una estrecha relación con la composición pintada que realizó Cano de La Virgen del Rosario de la Catedral de Málaga, finalizada en 1666, y con los grabados de Cantarini, consultados por Cano en Estudios para la Virgen y el Niño, en el Museo del Louvre, que también constituyeron una fuente de inspiración para el lienzo de Málaga

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