Atnaujinta spalis 2026 · pagal mūsų populiarumumo koeficientą (paieškos, lankytojai ir užsakymai kiekvienam kūriniui) · 88 Alonso Cano darbai mūsų kataloge
In short
Alonso Cano's best-known piece is The Crucifixion (1650). You'll find it at the Museo del Prado in Madridas. Next on the list are Portrait of Garcilaso de la Vega (?) (1635) and The crucified Christ appears to Saint Teresa (1629). We have 88 works by Alonso Cano in our catalogue; this guide picks out the 88 best known, with the year, the museum and the story of each piece.
The vertical axis of the wooden cross anchors the composition, pulling the eye upward through a void of deep blacks and umbers. A pale, luminous flesh defines the body of Christ, catching a sharp, singular light that carves out the anatomy of his musculature. This light is a quiet rebellion against the heavy, moody sky. On the horizon, a thin sliver of reddish-orange glows, a bruised light that suggests the…
In this intimate portrait, we find ourselves in a close-up encounter with a man whose presence is felt through a profound sense of quietude. The subject, likely Garcilaso de la Vega, gazes directly toward the viewer with a neutral, contemplative expression that suggests a mind turned inward. His dark, wavy hair and subtle mustache frame a face illuminated by a soft, directional light coming from the upper left. This lighting…
The air feels heavy with the weight of a celestial vision. In a space where the physical world dissolves into a nebulous, atmospheric void, a profound spiritual encounter unfolds. Christ, marked by the sacrifice of the cross, descends from the upper left, his pale skin and luminous presence cutting through the darkness. He moves along a sharp diagonal, creating a tension that pulls the eye toward Saint Teresa in the…
The air within the frame feels heavy with a sacred stillness, as if the very atmosphere has paused to witness a miracle. In this profound moment of spiritual intimacy, Saint Anthony of Padua kneels at the base of a celestial descent, his Franciscan habit rendered in deep, earthy umbers and ochres. He cradles the infant Jesus with a tenderness that transcends the canvas, his gaze anchored by the weight of…
In this 1629 oil on canvas, a mystical encounter unfolds within a quiet, shadowed space. Saint Teresa of Avila sits at a table, her white habit providing a sharp, luminous contrast against the deep, earthy tones of the background. An inkwell and a book lie before her, marking her identity as a writer and a Doctor of the Church. Her gaze is directed upward, caught in a moment of profound…
To stand before Alonso Cano's 'St. Bernard and the Virgin' is to step directly into the heart of Baroque piety. This magnificent canvas, dating from approximately 1650, is not merely a depiction of a religious event; it is an immersive experience of spiritual awe. The composition immediately draws the eye toward the radiant niche where the Virgin Mary cradles the Christ Child—a focal point radiating divine grace. St. Bernard, captured…
In 1648, Alonso Cano painted The Virgin Mary Appears to Saint Anthony. The canvas captures a celestial encounter between the Virgin Mary and Saint Anthony. She sits upon clouds in the upper left, looking down with a gentle expression. A thin, translucent veil extends from her hands toward the saint. Below, Saint Anthony kneels in the lower right, cradling the Christ Child in his arms. He gazes upward in adoration.…
Christ Crucified1650 · Museo del Prado
12
St. Vincent Ferrer Preaching1644 · Fundacion Banco Santander
13
S. Vincent preaching1644
14
The Crucifixion1638 · Ermitažas
15
Immaculate Conception1648
16
Maria1648
17
The Sleeping Christ Child1652 · Kingston Lacy
18
The Coronation of the Virgin1656 · Kingston Lacy
19
The Education of the Virgin1650 · Fundacion Banco Santander
20
Christ and Two Followers on the Road to Emmaus1650 · Walters Art Museum
21
Death of S. Francis of Assis1650 · San Fernando karališkoji dailės akademija
22
Cristo en El Limbo.1652
23
The First Labours of Adam and Eve1652
24
Vision of St. Anthony of Padua1662
25
The penitent Saint Jerome1660 · Museo del Prado
26
St James the Greater1635 · Liuvro muziejus
27
The Miracle at the Well1646 · Museo del Prado
28
Saint John the Evangelist's Vision of Jerusalem (detail)1636 · Wallace Collection
29
Eve1666 · Granados katedra
30
The Dead Christ Supported by an Angel1646 · Museo del Prado
31
St John the Evangelist on Pathmos1646 · Szépművészeti Múzeum
32
Noli me Tangere1640 · Szépművészeti Múzeum
33
St James the Greater1635 · Liuvro muziejus
34
The Vision of Saint Anthony of Padua1640 · Gemäldegalerie
35
Immaculate Conception1648 · Provincial Museum
36
Saint John the Evangelist's Vision of Jerusalem1636 · Wallace Collection
37
Saint Jacques le MajeurLiuvro muziejus
38
St John the Evangelist1636 · Liuvro muziejus
39
Self-portraitKados muziejus
40
Saint John the BaptistCincinnati Art Museum
41
PORTRAIT DE DON LUIS DE HARO
42
St. John the Evangelist giving communion to the Virgin
43
The vision of St. Felix of CantaliceKados muziejus
44
Descent into Limbo1640 · Los Angelos apygardos meno muziejus
45
Saint Jean Evangeliste et la coupe empoisonnéeLiuvro muziejus
46
Mary1646 · Szépművészeti Múzeum
47
Cène à Emmaüs
48
Saint Anthony the Abbot
49
The Vision of Saint John
50
The Virgin and the ChildMuseo del Prado
51
St. John the Evangelist
52
A kneeling infant, perhaps the infant John the Baptist
53
A Spanish kingMuseo del Prado
54
The Entombment
55
The Miracle at the Well
56
The visit
57
Angels Ministering to St. Sebastian
58
San Juan Evangelista dando la comunión a la Virgen
59
Crucifixion
60
Two kings of SpainMuseo del Prado
61
Three Putti Holding Cross Before Two Male Saints
62
San Pedro liberado por el ángelMuseo del Prado
63
San Benito en la visión del y los tres ángelesMuseo del Prado
64
San Antonio de Padua
65
San Juan de Capistrano y San Bernardino de Siena
66
San Jerónimo Penitente
67
The announciation
68
Saint Bernardin de Sienne et saint Jean de Capistran
69
El milagro del pozo
70
Los desposorios de la Virgen
71
Visitation
72
The Dead Christ Supported by an Angel 1Museo del Prado
73
St. Vincent Ferrer Preaching
74
Christ and the samaritan
75
La Visitation
76
L'AnnonciationGoya Museum
77
St. John the Evangelist with the Poisoned Cup
78
Unknown Lady as St Elizabeth
79
Le Mariage de la Vierge Los Desposorios de la Virgen
80
Design for a fountainKordobos gražiųjų menų muziejus
81
Statue of Saint FrancisChâteau de Villandry
82
Inmaculada
83
The Miracle of Saint Dominic in Soriano
84
The Virgin and Child1645 · Museo del Prado
85
The Vision of St Bernard1650 · Museo del Prado
86
San Francisco de Borja (Saint Francis Borgia)1624 · Sevio di vėses artūms muziejus
87
Saint Agnes1636 · Bode Museum
88
The Miracle of the WellMuseo del Prado
The four subjects that come up most often in these pieces, each with its best-known example.
8 muziejai, kuriuose saugoma daugiausia šioje pusėje esamų paveikslų.
| Muzejaus | Miestas | Alonso Cano darbai | Šiojo sąrašo paveikslai |
|---|---|---|---|
 Museo del Prado |
Madridas | 18 | The Crucifixion, The crucified Christ appears to Saint Teresa, Saint Anthony of Padua |
 Liuvro muziejus |
Paryžius | 5 | St James the Greater, St James the Greater, Saint Jacques le Majeur |
 Szépművészeti Múzeum |
Budapeštas | 3 | St John the Evangelist on Pathmos, Noli me Tangere, Mary |
 Ermitažas |
Šv. Peterburgas | 2 | Portrait of Garcilaso de la Vega (?), The Crucifixion |
 Fundacion Banco Santander |
Madrid | 2 | St. Vincent Ferrer Preaching, The Education of the Virgin |
 Kingston Lacy |
Wimborne Minster | 2 | The Sleeping Christ Child, The Coronation of the Virgin |
 Wallace Collection |
Londonas | 2 | Saint John the Evangelist's Vision of Jerusalem (detail), Saint John the Evangelist's Vision of Jerusalem |
 Kados muziejus |
Kadis | 2 | Self-portrait, The vision of St. Felix of Cantalice |
Pick a decade to see its standout piece.
The air feels heavy with the weight of a celestial vision. In a space where the physical world dissolves into a nebulous, atmospheric void, a profound spiritual encounter unfolds. Christ, marked by the sacrifice of the cross, descends from the upper left, his pale skin and luminous presence cutting through the darkness. He moves along a sharp diagonal, creating a tension that pulls the eye toward Saint Teresa in the…
In this intimate portrait, we find ourselves in a close-up encounter with a man whose presence is felt through a profound sense of quietude. The subject, likely Garcilaso de la Vega, gazes directly toward the viewer with a neutral, contemplative expression that suggests a mind turned inward. His dark, wavy hair and subtle mustache frame a face illuminated by a soft, directional light coming from the upper left. This lighting…
In 1648, Alonso Cano painted The Virgin Mary Appears to Saint Anthony. The canvas captures a celestial encounter between the Virgin Mary and Saint Anthony. She sits upon clouds in the upper left, looking down with a gentle expression. A thin, translucent veil extends from her hands toward the saint. Below, Saint Anthony kneels in the lower right, cradling the Christ Child in his arms. He gazes upward in adoration.…
The vertical axis of the wooden cross anchors the composition, pulling the eye upward through a void of deep blacks and umbers. A pale, luminous flesh defines the body of Christ, catching a sharp, singular light that carves out the anatomy of his musculature. This light is a quiet rebellion against the heavy, moody sky. On the horizon, a thin sliver of reddish-orange glows, a bruised light that suggests the…
Top of the list is The Crucifixion (1650), Museo del Prado, Madridas. Right behind it: Portrait of Garcilaso de la Vega (?) (1635) and The crucified Christ appears to Saint Teresa (1629).
49 years old. Alonso Cano was born in 1601, and The Crucifixion dates from 1650.
The Crucifixion, Portrait of Garcilaso de la Vega (?), The crucified Christ appears to Saint Teresa, Saint Anthony of Padua, The crucified Christ appears to Saint Teresa of Avila, St. Bernard and the Virgin, The Virgin Mary Appears to Saint Anthony, St. Stephanus, Dominican monk ir Portrait of an Ecclesiastic. You'll find the year and the museum of each in the list above.
We have 88 works by Alonso Cano in our catalogue, dated 1624 to 1666.
You'll find most of them in Museo del Prado (Madridas), Liuvro muziejus (Paryžius) ir Szépművészeti Múzeum (Budapeštas). The museum list above has the full breakdown.
In 1640s, more than any other time: 14 of the 88 pieces on this page date from then, The Virgin Mary Appears to Saint Anthony among them.
The earliest piece here is San Francisco de Borja (Saint Francis Borgia) (1624); the most recent is Eve (1666).
Religious (22), Man (10) ir Saints (9), out of the 88 pieces on this page.
Oil On Canvas, used in 22 of the 88 pieces on this page.
Baroque, as you can see in the pieces on this page.
You can see 18 of the pieces on this page at the Museo del Prado, Madridas, including The Crucifixion, The crucified Christ appears to Saint Teresa ir Saint Anthony of Padua.
Yes. Every painting on this page is available as a hand-painted oil reproduction or a print, in the size that suits you. Just open the painting's page to order.
Alonso Cano Almansa išsipina kaip ypatinga figūra Ispanijos Aukso amžiuje – tikras universalus genijus, kurio kūrybinė dvasia atsisakė būti įtraukta vienos tik medžiagos ribų. Gimęs Granadoje, Ispanijoje, jis buvo retas talentas, su tokiu pat ašimtumu įsisavintęs skirtingas tapybos, skulptūros ir architektūros disciplinas. Jo meninė kelionė prasidėjo po savo tėvo, Miguel Cano, vadovavimu, iš kurio paveldėjo pagrindinius architektūros principus. Šis struktūrinis suvokimas vėliau suteikė erdvės gylį ir monumentalų pratimą jo vaizdo kūriniams.
Jo išsilavinimas buvo geriausių įtakų Ispanijos meno pasauliui audinys. Tapybos srityje jis tobulino savo meistriškę Juan del Castillo akademijoje ir mokėsi pas Francisco Pacheco, gerbiančio Velázqueso mokytojo. Ši kilmė tiesiogiai susietė jį su baroko judėjimo širdimi, įkvėpdama jo plėstaliams dramatiškos įtampos ir dvasinės švytėjimo. Tuo pačiu metu jo skulptūrinis meistriškumas buvo krakantas po Juan Martínez Montañés globacija, leidžiant jam į šviesą ir medį įkvėpti gyvybės su giliu anatominiu eleganciškumu ir emociniu rezonansu.
Cano kūrybos ešė pris特点ingu ypatingu gebėjimu įamžinti dieviškumą žmogaus forme. Kaip skulptorius, jis pasiekė neblėstančią šlovę per tokius kūrinius kaip Madona su Šviesiąčiu Lebrijos bažnyčioje bei savo kolosalius, įkvėpipusių pagarbą Šv. Petro ir Šv. Pauliaus figūras. Šie darbai demonstruoja masto meistriškumą ir gebėjimą suėdinti gilią religinę atsidavimą per fizinę pratimą.
Savo tapyboje Cano naudoja dramatiškus baroko eros technikos elementus, kad sukurtų intensyvaus dvasinio susitikimo akimirkas. Jo kompozicijose dažnai išskiriamas:
Alonso Cano talento reikšmė buvo pripažinta aukščiausiuose Ispanijos dvaro lygiuose. Jo prestižas paskatino jį paskirti pirmuoju karališku architektu ir Filipas IV tapo jo tapybininku. Jo įtaka išsiplėtė net ir į būsimųjų kartų švietimą, tarnaujant mokytoju princui Balthasar Charles. Šis artumas prie valdžios leido jam palikti neištriniamą žymą Ispanijos architektūros peizažui; ypatingai svarbu, kad jis tarnavo kaip Granados katedros pagrindinis architektas, suprojektavęs jo magnifikantišką fasadą, kuris buvo išstatytas po jo mirties.
Be savo oficialių titulų, Cano palikimas išliko pačiame Andalūzijos kultūros pagrindinėje audinyje. Gebėjimas suvilgyti architektūros struktūrinį griežtį, skulptūros taktilį emocinį jautrumą ir tapybos šviesų pasakojimą užtikrina jam vietą kaip vienam universaliausiems ir esminiausiems Ispanijos baroko meistrams.
