Cano, Alonso
Spanish, 1601-67 Spanish painter, sculptor and architect. He was an artist of rare versatility in 17th-century Spain, although his architectural work was not extensive. While he is also known for his drawings, only about 60 of these are definitely attributable to him, despite the many extant sketches with the name 'Cano' carelessly added by later hands. Unlike most of his Spanish contemporaries, such as Zurbaren or Velezquez, whose artistic styles did not outlive them, Cano's artistic legacy is measured in part by the number of artists who trained in his workshop and went on to become important masters in their own right: the painters Pedro Atanasio Bocanegra, Juan de Sevilla (1643-95) and, more distantly, Jos Risueo, and the sculptors Pedro de Mena and Jos de Mora,
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Cano, Alonso The Vision of St Bernard oil painting


The Vision of St Bernard
c. 1650 Oil on canvas, 267 x 185 cm
Painting ID::  43830 		Cano, Alonso
The Vision of St Bernard
c. 1650 Oil on canvas, 267 x 185 cm
   
   
     
Cano, Alonso St Isidore and the Miracle of the Well oil painting


St Isidore and the Miracle of the Well
mk244 c.1646-1648 Oil on canvas 216x149cm
Painting ID::  55737 		Cano, Alonso
St Isidore and the Miracle of the Well
mk244 c.1646-1648 Oil on canvas 216x149cm
   
   
     
Cano, Alonso Saint John the Evangelist's Vision of Jerusalem oil painting


Saint John the Evangelist's Vision of Jerusalem
1636-37 Oil on canvas, 83 x 44 cm Wallace Collection, London This painting, contracted on 23 November 1635, was executed for the convent church of Santa Paula in Seville. It is evident that the artist had mastered an Italianate manner of painting; the figure of the angel alone is sufficient to corroborate this observation. The partly clad body, the complicated, foreshortened pose, and the mastery of anatomical drawing are unique elements in Sevillian painting of the time, as are the deep perspective of the landscape and the delicate, translucent colours. Cano's mastery of this facile, sophisticated style suggests that he had passed time in Italy, although there is not the slightest evidence that he left the city until his final departure in 1638
Painting ID::  62369 		Cano, Alonso
Saint John the Evangelist's Vision of Jerusalem
1636-37 Oil on canvas, 83 x 44 cm Wallace Collection, London This painting, contracted on 23 November 1635, was executed for the convent church of Santa Paula in Seville. It is evident that the artist had mastered an Italianate manner of painting; the figure of the angel alone is sufficient to corroborate this observation. The partly clad body, the complicated, foreshortened pose, and the mastery of anatomical drawing are unique elements in Sevillian painting of the time, as are the deep perspective of the landscape and the delicate, translucent colours. Cano's mastery of this facile, sophisticated style suggests that he had passed time in Italy, although there is not the slightest evidence that he left the city until his final departure in 1638
   
   
     
Cano, Alonso San Francisco de Borja oil painting


San Francisco de Borja
San Francisco de Borja (Saint Francis Borgia), oil on canvas, 189 x 123 cm.
Painting ID::  67695 		Cano, Alonso
San Francisco de Borja
San Francisco de Borja (Saint Francis Borgia), oil on canvas, 189 x 123 cm.
   
   
     
Cano, Alonso Portrat eines spanischen Konigs oil painting


Portrat eines spanischen Konigs
Oil on canvas Dimensions 165 x 125 cm (65 x 49.2 in) cyf
Painting ID::  82803 		Cano, Alonso
Portrat eines spanischen Konigs
Oil on canvas Dimensions 165 x 125 cm (65 x 49.2 in) cyf
   
   
     
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     Cano, Alonso
     Spanish, 1601-67 Spanish painter, sculptor and architect. He was an artist of rare versatility in 17th-century Spain, although his architectural work was not extensive. While he is also known for his drawings, only about 60 of these are definitely attributable to him, despite the many extant sketches with the name 'Cano' carelessly added by later hands. Unlike most of his Spanish contemporaries, such as Zurbaren or Velezquez, whose artistic styles did not outlive them, Cano's artistic legacy is measured in part by the number of artists who trained in his workshop and went on to become important masters in their own right: the painters Pedro Atanasio Bocanegra, Juan de Sevilla (1643-95) and, more distantly, Jos Risueo, and the sculptors Pedro de Mena and Jos de Mora,

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