“Alonso Cano, Dead Christ Supported by an Angel, 1646-52”, en R. Kasl (ed.), Sacred Spain: and Belief in the Spanish World, Indianapolis Museum of Art, 2009, pp. 238-239. (original) (raw)
2009, Sacred Spain: and Belief in the Spanish World
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Alonso Cano's painting 'Dead Christ Supported by an Angel' exemplifies his mastery and maturity as a baroque artist in Spain. Created between 1646-52, the artwork showcases Cano's shift from naturalism to classicism, influenced by prominent artists and the royal collection in Madrid. The painting features a unique iconography derived from Eastern Christian traditions, emphasizing the calmness of death through its serene composition, which contrasts with the emotional weight typically associated with such subjects. Cano's innovative approach involved reworking existing prints into a balanced and original visual statement.
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"Alonso Cano’s rediscovered ‘Immaculate Conception’ for San Alberto, Seville", 165, December, 2023
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Alonso Cano occupies a key position in Spanish seventeenth-century painting. Despite his importance, however, he still awaits a retrospective to demonstrate the full scope and quality of his work as draughtsman, painter, sculptor, architect and printmaker. 1 Born in Granada in 1601, he moved to Seville in 1614 with his father, Miguel Cano, an architect and maker of altarpieces. 2 He was trained in draughtsmanship and painting by Francisco Pacheco (1564-1644), one of Seville's most distinguished painters, who ran an influential workshop, where Diego Velázquez (1599-1660), two years Cano's senior, was apprenticed from 1610 to December 1616. The contract for Cano's apprenticeship with Pacheco survives and is dated 17th August 1616. 3 According to the testimony dated 23rd December 1658 provided by Cano when Velázquez sought to join the Order of Santiago, the two artists had known each other since 1614, the year Cano moved to Seville. 4 Between August and December 1616 they worked together in Pacheco's studio and were trained in the same principles, a fact that is of central importance to an understanding of their early paintings. Their revolutionary combination of painting from life and skilled draughtsmanship was the foundation of the new path that painting was to take in Seville.
We do not know when he was born, educated or died. We do not know whether he managed, if indeed he did, to leave Spain. We do not know with what masters he trained. We do not know of any prince, prelate or magnate who protected him; we do not know if he had any patrons. We know hardly anything;
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