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Altarpiece of Saint John of God
Pencil, Grey-brown wash on yellow laid paper. 1653 - 1657
Cano, Alonso
Altarpiece of Saint John of God
Pencil, Grey-brown wash on yellow laid paper. 1653 - 1657
Cano, Alonso

In the bottom section, the tabernacle is flanked by two scenes: Saint John distributing alms in the company of an angel, and Saint John washing Christ’s feet. The middle section has an image of the Virgin dressing flanked by Saint Raphael and the Sacred Hospice. The top section has the traditional Calvary and two thick cartouches, one with the emblem of Saint John: the pomegranate and the cross.

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

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

Young Saint John and the Christ Child
Pencil, Pencil ground, Grey-brown wash on yellow laid paper. 1666 - 1667
Cano, Alonso
Young Saint John and the Christ Child
Pencil, Pencil ground, Grey-brown wash on yellow laid paper. 1666 - 1667
Cano, Alonso

Kneeling at the left, with his left arm around the lamb, young Saint John raises his eyes to the nude Christ Child standing at his side. The scene is presented in a heart-shaped cartouche. This is a preparatory drawing for the painting at the Hermitage, which Wethey considers a late work, painted in Granada around 1660-1667. Evidently, it is based on Reni’s Bolognese prints of drawings by Carracci

Design for an altarpiece dedicated to Saint Andrew, from Madrid / Heads
Pencil, Pencil ground, Grey-brown wash on yellow laid paper. Ca. 1643
Cano, Alonso
Design for an altarpiece dedicated to Saint Andrew, from Madrid / Heads
Pencil, Pencil ground, Grey-brown wash on yellow laid paper. Ca. 1643
Cano, Alonso

Un retablo imponente, de elegantes proporciones, no incluye demasiados componentes pictóricos o escultóricos, confiriendo así mayor importancia a la arquitectura y su ornamentación. En el registro inferior no hay elementos figurativos de pintura ni escultura, solo los compartimentos que flanquean el tabernáculo coronado por la urna que guardan los restos de San Isidro, venerados en aquel momento e

The Virgin Appears to Saint Felix of Cantalice
Pencil, Grey-brown wash on yellow laid paper. 1653 - 1657
Cano, Alonso
The Virgin Appears to Saint Felix of Cantalice
Pencil, Grey-brown wash on yellow laid paper. 1653 - 1657
Cano, Alonso

In the upper right register, the Virgin is seated on clouds and the Christ Child moves away from his mother towards Saint Felix, whose open arms await the little one entrusted to his care. In the lower left register, Saint Felix and another Capuchin monk kneel on the steps of a stone platform in a monastic cell. Through the open balcony, the foliage outside can be perceived. The very well develope

Miracle at the Tomb of Saint Peter Martyr
Pencil, Pencil ground, Grey-brown wash on yellow laid paper. Ca. 1665
Cano, Alonso
Miracle at the Tomb of Saint Peter Martyr
Pencil, Pencil ground, Grey-brown wash on yellow laid paper. Ca. 1665
Cano, Alonso

This drawing depicts the miraculous power of Saint Peter Martyr, the first Dominican martyr whose tomb in Milan became an important pilgrimage site. The Golden Legend documents at least one example of a demon-possessed woman who was cured before the venerable remains of the saint (alluded to in the drawing by the woman on the left, from whose mouth the demon escapes). Purely physical maladies were

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

Due to its close resemblance to Getafe’s canvas depicting the same theme and painted by Cano in 1645, this sketch has been identified as Saint Elizabeth with the Infant Saint John. Saint Elizabeth is depicted standing in a marked contrapposto position and holding her hefty son at waist level to the right. The reflective and intimate tone of the composition is perhaps better identified in the drawi

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

Angels with Flaming Swords pursuing Heretics
Pencil, Pencil ground, Grey-brown wash on yellow laid paper. Ca. 1665
Cano, Alonso
Angels with Flaming Swords pursuing Heretics
Pencil, Pencil ground, Grey-brown wash on yellow laid paper. Ca. 1665
Cano, Alonso

The foreground and the right-hand side of the drawing are occupied by two angels wielding flaming swords to chase away three figures who have fallen to the ground while fleeing. In the background, two angels lead a Dominican monk towards an arched doorway adorned with a cross and a tiled roof. It has not been easy to link this iconography with the Dominican legend. The figures in the foreground ar

Saint Dominic blessing a Pilgrim
Pencil, Pencil ground, Grey-brown wash on paper attached to canvas, yellow laid paper. XVII century
Cano, Alonso
Saint Dominic blessing a Pilgrim
Pencil, Pencil ground, Grey-brown wash on paper attached to canvas, yellow laid paper. XVII century
Cano, Alonso

The drawing corresponds to the painter’s mature period when he had already gained all his extensive experience and knowledge as a draughtsman. This is perceptible from the intelligent use of ink wash; that is to say, the application of the different layers of ink with the brush for shading and to create volume. This is achieved by pen strokes that recreate the folds of the fabric. It was initially

The Virgin presenting the Rosary to Saint Dominic
Pencil, Pencil ground, Grey-brown wash on yellow laid paper. Ca. 1665
Cano, Alonso
The Virgin presenting the Rosary to Saint Dominic
Pencil, Pencil ground, Grey-brown wash on yellow laid paper. Ca. 1665
Cano, Alonso

In the upper right register, the Virgin is kneeling on a cloud and holding the Christ Child. From her hand hangs a rosary that Saint Dominic (standing to the left) and the Pope (kneeling at the centre in front of a kneeling king) both grasp. In the upper left register, a small angel bathed in shadows swings three rosaries. During the 15th century, Saint Dominic was erroneously credited with the in

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

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