Updated October 2026 · ranked by our popularity score (searches, visits and orders for each work) · 88 works by 阿隆索·卡諾 in our catalogue
In short
阿隆索·卡諾's best-known piece is The Crucifixion (1650). You'll find it at the 普拉多博物馆 in 马德里. 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 阿隆索·卡諾 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 · 普拉多博物馆
12
St. Vincent Ferrer Preaching1644 · Fundacion Banco Santander
13
S. Vincent preaching1644
14
The Crucifixion1638 · 冬宫博物馆
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 · 沃尔特斯艺术博物馆
21
Death of S. Francis of Assis1650 · 圣费尔南多皇家美术学院
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 · 普拉多博物馆
26
St James the Greater1635 · 卢浮宫
27
The Miracle at the Well1646 · 普拉多博物馆
28
Saint John the Evangelist's Vision of Jerusalem (detail)1636 · 威廉斯收藏馆
29
Eve1666 · 格拉纳达大教堂
30
The Dead Christ Supported by an Angel1646 · 普拉多博物馆
31
St John the Evangelist on Pathmos1646 · 布达佩斯美术博物馆
32
Noli me Tangere1640 · 布达佩斯美术博物馆
33
St James the Greater1635 · 卢浮宫
34
The Vision of Saint Anthony of Padua1640 · 柏林国家美术馆
35
Immaculate Conception1648 · 省立博物馆
36
Saint John the Evangelist's Vision of Jerusalem1636 · 威廉斯收藏馆
37
Saint Jacques le Majeur卢浮宫
38
St John the Evangelist1636 · 卢浮宫
39
Self-portrait卡迪斯博物馆
40
Saint John the Baptist辛辛那提艺术博物馆
41
PORTRAIT DE DON LUIS DE HARO
42
St. John the Evangelist giving communion to the Virgin
43
The vision of St. Felix of Cantalice卡迪斯博物馆
44
Descent into Limbo1640 · 洛杉矶县立艺术博物馆
45
Saint Jean Evangeliste et la coupe empoisonnée卢浮宫
46
Mary1646 · 布达佩斯美术博物馆
47
Cène à Emmaüs
48
Saint Anthony the Abbot
49
The Vision of Saint John
50
The Virgin and the Child普拉多博物馆
51
St. John the Evangelist
52
A kneeling infant, perhaps the infant John the Baptist
53
A Spanish king普拉多博物馆
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 Spain普拉多博物馆
61
Three Putti Holding Cross Before Two Male Saints
62
San Pedro liberado por el ángel普拉多博物馆
63
San Benito en la visión del y los tres ángeles普拉多博物馆
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 1普拉多博物馆
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 fountain科尔多瓦美术馆
81
Statue of Saint Francis维朗德里城堡
82
Inmaculada
83
The Miracle of Saint Dominic in Soriano
84
The Virgin and Child1645 · 普拉多博物馆
85
The Vision of St Bernard1650 · 普拉多博物馆
86
San Francisco de Borja (Saint Francis Borgia)1624 · 塞维利亚美术馆
87
Saint Agnes1636 · 博德博物馆
88
The Miracle of the Well普拉多博物馆
The four subjects that come up most often in these pieces, each with its best-known example.
The 8 museums that hold the most of the paintings on this page.
| Museum | City | Works by 阿隆索·卡諾 | Paintings from this list |
|---|---|---|---|
 普拉多博物馆 |
马德里 | 18 | The Crucifixion, The crucified Christ appears to Saint Teresa, Saint Anthony of Padua |
 卢浮宫 |
巴黎 | 5 | St James the Greater, St James the Greater, Saint Jacques le Majeur |
 布达佩斯美术博物馆 |
布达佩斯 | 3 | St John the Evangelist on Pathmos, Noli me Tangere, Mary |
 冬宫博物馆 |
圣彼得堡 | 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 |
 威廉斯收藏馆 |
伦敦 | 2 | Saint John the Evangelist's Vision of Jerusalem (detail), Saint John the Evangelist's Vision of Jerusalem |
 卡迪斯博物馆 |
加的斯 | 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), 普拉多博物馆, 马德里. Right behind it: Portrait of Garcilaso de la Vega (?) (1635) and The crucified Christ appears to Saint Teresa (1629).
49 years old. 阿隆索·卡諾 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 and Portrait of an Ecclesiastic. You'll find the year and the museum of each in the list above.
We have 88 works by 阿隆索·卡諾 in our catalogue, dated 1624 to 1666.
You'll find most of them in 普拉多博物馆 (马德里), 卢浮宫 (巴黎) and 布达佩斯美术博物馆 (布达佩斯). 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) and 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 普拉多博物馆, 马德里, including The Crucifixion, The crucified Christ appears to Saint Teresa and 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.
阿隆索·卡诺·阿尔曼萨（Alonso Cano Almansa）是西班牙黄金时代中一个独一无二的人物，一位真正的博学家，其创造力之旺盛，绝不愿被局限于任何单一的艺术媒介。他出生于西班牙格拉纳达，是一位罕见的天才，能以同样的热忱精通绘画、雕塑与建筑这几种截然不同的学科。他的艺术之旅始于父亲米格尔·卡诺（Miguel Cano）的悉心指导，并从其父那里继承了建筑学的基本原理。这种对结构的深刻理解，后来为其视觉作品注入了宏伟的空间深度与纪念碑式的存在感。
他的艺术教育是一幅由西班牙艺术界最顶尖的影响力交织而成的锦缎。在绘画领域，他在胡安·德尔·卡斯蒂略（Juan del Castillo）的学院中磨炼笔触，并师从伟大的委拉斯开兹（Velázquez）之师——弗朗西斯科·帕切科（Francisco Pacheco）。这一艺术血脉将他直接与巴洛克运动的核心联系在一起，使他的画布充满了戏剧性的张力与神圣的光辉。与此同时，他的雕塑造诣则是在胡安·马丁内斯·蒙塔涅斯（Juan Martínez Montañេស）的教导下锻造而成，这使他能够赋予石材与木材生命，展现出深刻的解剖学优雅感与情感共鸣。
卡诺的作品以其在人体形态中捕捉神性的非凡能力而著称。作为一名雕塑家，他凭借列布里哈教堂中的《圣母与圣婴》以及气势磅礴、威严庄重的圣彼得与圣保罗像等杰作，赢得了持久的声誉。这些作品展示了他对比例尺度的精湛掌控，并能通过物质的存在感唤起深层的宗教虔诚。
在绘画创作中，卡诺运用巴洛克时代的戏剧化技法，营造出强烈的精神邂逅时刻。他的构图往往呈现出以下特征：
阿隆索·卡诺才华的卓越地位在西班牙宫廷的高层得到了充分认可。他的声望促使他被任命为首位皇家建筑师，并成为腓力四世的御用画家。他的影响力甚至延伸到了下一代的教育中，曾担任王子巴尔萨泽·查理斯的导师。这种与权力的亲近，使他在西班牙的建筑景观上留下了不可磨灭的印记；值得注意的是，他曾担任格拉纳达大教堂的总建筑师，并设计了其宏伟的正立面，该建筑最终在他逝世后落成。
除了这些官方头衔，卡诺的遗产已深深融入安达卢西亚文化的肌理之中。他能够将建筑的结构严谨性、雕塑的触觉情感以及绘画的光影叙事完美地编织在一起，这确保了他作为西班牙巴洛克时期最全面且最核心的大师地位。
