Alonso Cano

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Cano, Alonso


Baptized Mar. 19, 1601, in Granada; died there Sept. 3, 1667. Spanish sculptor and painter, representative of the baroque style.

Cano began studying under J. Moñténes and F. Pacheco in Sevilla in 1616. He worked there until 1637. He subsequently worked in Madrid, Valencia, and Granada (from 1652). Maintaining the traditions of painted wooden sculpture, Cano’s polychromatic sculptures are imposing and are characterized by subtle spirituality and eloquent expressiveness. Examples of his sculpture are the retables of the Church of Santa Maria in Le-brija (near Sevilla, 1628–38) and the statues and busts of saints in the Granada Cathedral (1658–60). Cano’s paintings, which are characterized by idealization of forms, external prettiness, and Italian artistic influences, are less distinctive than his sculptures. His paintings include The Virgin Presenting the Infant Christ to St. Anthony (1645–52, Prado, Madrid) and the series Seven Joys of the Virgin (1652–64, Granada Cathedral). In 1703, Cano’s design for the western facade of the Granada Cathedral was carried out by the architect J. Granados.


Wethey, N. E. Alonso Cano. Princeton, 1955.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
The focus on the significant, albeit understudied, painter Alonso Cano and sculptor Gregorio Fernandez; on the cultural differences and similarities between Spanish and Italian Baroque; on technical difficulty (dificoldad) as a feature central to the iconographical multiplicity of Spanish Baroque; on naturalistic tendencies and highly individualized styles for depicting the Spanish mystical lore thus distinguish the catalogue El Siglo de Oro: The Age of Velazquez from its predecessors.
It is among the highly treasured places because it enshrines some of the great artworks of people like Francisco Goya, Alonso Cano and Zurbarn who are known for their marvellous artworks.
Ahora se centra en una pieza de excepcional calidad como es el Cristo Crucificado del maestro del Siglo de Oro espanol Alonso Cano, que actualmente se venera en la capilla penitencial de la iglesia de los capuchinos de San Antonio de Pamplona.
Coll & Cortes currently has available an Inmaculada of around 1650-60 by Alonso Cano (1601-67), wrapped in wonderfully rendered blue and gold cloth, as well as an appealing Infant St John the Baptist by de Mena in polychrome wood, glass, and silver, dating to the mid 1670s (Fig.
Inevitably the question of the pertinence of particular pairs becomes prominent, with some being mutually enlightening, such as the dramatic juxtaposition of Bacon Crucifixion, 1933 with Alonso Cano's The Crucifixion, 1636-1638, where the latter heightens the solemnity and gravitas of the former and gives a fitting close to the show, whilst others, such as the echo of the raised arms gesture in Matisse's Standing Nude, 1958, Gauguin's Man Picking Fruit from a Tree, 1897 and Bacon's Study of a Nude, 1953 are rather tenuous.
Su autor, Oriol Alonso Cano, derriba la clasica concepcion que en nuestra disciplina ha tenido "la casa" como simbolo de separacion entre lo publico y lo privado.
Saint John the Evangelist's Vision of God, and Saint John the Evange-list's Vision of the Lamb by Alonso Cano will be part of the exhibition Alonso Canoy el Retablo de la Iglesia de Santa Paula.