Updated oktoober 2026 · ranked by our popularity score (searches, visits and orders for each work) · 88 works by Alonso Cano in our catalogue
In short
To the gallery's eye, Alonso Cano's most famous painting is The Crucifixion (1650), whose original hangs in the Museo del Prado, Madrid. Portrait of Garcilaso de la Vega (?) (1635) and The crucified Christ appears to Saint Teresa (1629) complete the trio every eye recognises. Of the 88 works by Alonso Cano in our catalog, the gallery presents the 88 most famous below, each original with its year, its museum and what makes it unique.
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 · Hermitage muuseum
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 Kuntekade Akadeemia
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 · Louvre'i muuseum
27
The Miracle at the Well1646 · Museo del Prado
28
Saint John the Evangelist's Vision of Jerusalem (detail)1636 · Wallace Collection
29
Eve1666 · Granada katedraal
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 · Louvre'i muuseum
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 MajeurLouvre'i muuseum
38
St John the Evangelist1636 · Louvre'i muuseum
39
Self-portraitCádizi muuseum
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 CantaliceCádizi muuseum
44
Descent into Limbo1640 · Los Angeles County Museum of Art
45
Saint Jean Evangeliste et la coupe empoisonnéeLouvre'i muuseum
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 fountainCórdobai Kunstmuuseum
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 · Sevilla Kunstimuuseum
87
Saint Agnes1636 · Bode Museum
88
The Miracle of the WellMuseo del Prado
The four subjects that come back most often in these originals, each with its finest example.
The 8 museums that hold the most of the paintings on this page.
| Museum | City | Works by Alonso Cano | Paintings from this list |
|---|---|---|---|
 Museo del Prado |
Madrid | 18 | The Crucifixion, The crucified Christ appears to Saint Teresa, Saint Anthony of Padua |
 Louvre'i muuseum |
Pariis | 5 | St James the Greater, St James the Greater, Saint Jacques le Majeur |
 Szépművészeti Múzeum |
Budapest | 3 | St John the Evangelist on Pathmos, Noli me Tangere, Mary |
 Hermitage muuseum |
Stiiitlinburg | 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 |
London | 2 | Saint John the Evangelist's Vision of Jerusalem (detail), Saint John the Evangelist's Vision of Jerusalem |
 Cádizi muuseum |
Cádiz | 2 | Self-portrait, The vision of St. Felix of Cantalice |
Pick a decade to see the original that defines it.
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…
The Crucifixion (1650), Museo del Prado, Madrid. Portrait of Garcilaso de la Vega (?) (1635) and The crucified Christ appears to Saint Teresa (1629) come next.
49 years old: The Crucifixion dates from 1650, and Alonso Cano was born in 1601.
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. The ranking above gives each one's year and museum.
Our catalog holds 88 works by Alonso Cano, dated from 1624 to 1666.
Mostly in Museo del Prado (Madrid), Louvre'i muuseum (Pariis) and Szépművészeti Múzeum (Budapest). The museum table above lists them all.
In 1640s: 14 of the 88 works on this page were made then, The Virgin Mary Appears to Saint Anthony among them.
On this page, the earliest is San Francisco de Borja (Saint Francis Borgia) (1624) and the latest Eve (1666).
Religious (22), Man (10) and Saints (9), across the 88 works on this page.
Oil On Canvas, for 22 of the 88 works on this page.
Baroque, judging by the originals on this page.
The Crucifixion, The crucified Christ appears to Saint Teresa and Saint Anthony of Padua: the Museo del Prado, Madrid holds 18 of the works on this page.
Yes, as a reproduction: the original stays in its museum, but any painting on this page can be painted by hand for you, made to order one at a time, from the painting's own page.
Alonso Cano Almansa astub esile Spaania kuldajärgu unikaalse isikuna, tõelise polümaatrina, kelle loovvaim keeldus end ühe laiendusega piirata. Sündinud Granadas, Spanyol, oli ta haruldane talent, kes valtsistas maaliumi, skulptuuri ja arhitektuuri eraldi discipliini samavõrgse põletusega. Tema kunstiline teekond algas ishis Miguel Cano juhendamisel, keda ta päris arhitektuuri alusprintsiibid. See struktuurne arusaatus annaks hiljem vormile sügavust ja monumentaalset kohvust, mida on nähtav tema visuaalsetes teostes.
Tema haridus oli kanga, millel olid kootud kokku Spaania kunstimaailma parimad mõjutid. Maaliumi valdkonnas täiustas ta oma pintstroki Juan del Castilloi akadeemias ning õppis Francisco Pacheche juures, kes oli Venetsia meistri Velázquezi austatud õpetaja. See pärimustraditsioon ühendas teda otse barokkliikumuse südamega, infuseerides tema laintead dramaatilise pingega ja vaimse luminosusega. Samal ajal puhus tema skulpturaalne võime üles Juan Martínez Montañesees õppetöö all, võimaldades tal tuua kivi ja puidu ellu sügava anatomilise elegantsi ja emotsionaalse resonantsiga.
Cano loomingut iseloomustab erakordne võime tabada jumalikku inimvormi sees. Skulptuurina saavutas ta püsiva kuulsuse teostega nagu Madonna ja laps Lebrija kirikus ning tema kolossaalsed, kummardust vääriv San Pedro ja San Pablo figuurid. Need teosed demonstreerivad suuret mõõtust ja võimet tekitada sügavat religioostlikku pühendumust läbi füüsilise kohvuse.
Omas maaliduses kasutas Cano barokkajastu dramaatilisi tehnikaid, et luua intensiivsete vaimsete kohtumiste hetki. Tema kompositsioonides on sageli nähtav:
Alonso Canos talendi olulisust tunnustati Spaania õukonna kõrgetel tasemetel. Tema prestiiž viis tema amet任命 (ametistulekuni) esimeseks kuninglikuks arhitektiks ja Filip IV maaliseks. Tema mõju ulatus isegi järgmise põlvkonna hariduse juurde, olles õpetajaks printselle Balthasar Charlesile. See lähedus võimule võimaldas tal jätta tematu jälje Spaania arhitektuurilendale; märkimisväärne on tema roll Granada katedraali peaarhitektina, luues selle suurepärase fassaadi, mis tõusis esile juba pärast tema surma.
Lisaks oma ametlike tiitlitele on Cano pärand säilitatud Andaluusia kultuuri sügavates kiududes. Tema võime ühendada arhitektuuri struktuuriline rangus, skulptuuri füüline emotsioon ja maali loov lugulaul tagab tema koha ühe Spaania barokki mitmekülgseima ja olulisema meistrina.
