Atualizado em Outubro 2026 · classificado pela nossa pontuação de popularidade (pesquisas, visitas e pedidos de cada obra) · 88 obras de Alonso Cano em nosso catálogo
Em resumo
Aos olhos da galeria, a pintura mais famosa de Alonso Cano é The Crucifixion (1650), cuja obra original está exposta no Museu do Prado, em Madrid. Portrait of Garcilaso de la Vega (?) (1635) e The crucified Christ appears to Saint Teresa (1629) completam o trio que todos reconhecem. Dos 88 trabalhos de Alonso Cano em nosso catálogo, a galeria apresenta abaixo as 86 obras mais famosas, cada uma original, com seu ano, seu museu e o que a torna única.
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…
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.…
In this medium close-up of St. Stephanus, Alonso Cano captures a moment of profound spiritual intensity. The subject is positioned slightly off-center, creating a sense of natural, unforced presence within the frame. He is depicted from the waist up, his body angled in a way that suggests a sudden, overwhelming encounter. His gaze is directed upward, fixed upon an unseen divine source that remains beyond the viewer's sight. This upward…
A single male figure emerges from a deep, indeterminate shadow, his presence defined by the stark contrast of light and dark. He is a Dominican monk, captured in a bust-length portrait that feels intimate and immediate. The light, descending from the upper left, washes over his face and the crisp white of his cowl, leaving the rest of his form to dissolve into the darkness. There is a profound sense…
In this three-quarter length portrait, titled Portrait of an Ecclesiastic, Alonso Cano presents a figure of quiet dignity. The subject is positioned slightly off-center, set against a dark, indistinct background that creates a shallow sense of depth. This arrangement focuses the viewer's attention entirely on the man in clerical attire. He holds a small book, a gesture that suggests a life of study or devotion. Near his right hand, an…
A single figure dominates the vertical composition, nailed to a wooden cross that extends beyond the upper frame. The background is a void of deep browns and blacks, utilizing tenebrism to push the subject into the immediate foreground. This stark chiaroscuro effect isolates the body against the darkness, focusing all attention on the pale, luminous skin tones of the torso. Lines define the muscular anatomy of the chest and abdomen,…
St. Vincent Ferrer Preaching1644 · Fundacion Banco Santander
12
S. Vincent preaching1644
13
The Crucifixion1638 · Museu Hermitage
14
Immaculate Conception1648
15
Maria1648
16
The Sleeping Christ Child1652 · Kingston Lacy
17
The Coronation of the Virgin1656 · Kingston Lacy
18
The Education of the Virgin1650 · Fundacion Banco Santander
19
Christ and Two Followers on the Road to Emmaus1650 · Walters Art Museum
20
Death of S. Francis of Assis1650 · Real Academia de Bellas Artes de San Fernando
21
Cristo en El Limbo.1652
22
The First Labours of Adam and Eve1652
23
Vision of St. Anthony of Padua1662
24
The penitent Saint Jerome1660 · Museu do Prado
25
St James the Greater1635 · Museu do Louvre
26
The Miracle at the Well1646 · Museu do Prado
27
Saint John the Evangelist's Vision of Jerusalem (detail)1636 · Wallace Collection
28
Eve1666 · Catedral de Granada
29
The Dead Christ Supported by an Angel1646 · Museu do Prado
30
St John the Evangelist on Pathmos1646 · Szépművészeti Múzeum
31
Noli me Tangere1640 · Szépművészeti Múzeum
32
St James the Greater1635 · Museu do Louvre
33
The Vision of Saint Anthony of Padua1640 · Gemäldegalerie
34
Immaculate Conception1648 · Provincial Museum
35
Saint John the Evangelist's Vision of Jerusalem1636 · Wallace Collection
36
Saint Jacques le MajeurMuseu do Louvre
37
St John the Evangelist1636 · Museu do Louvre
38
Self-portraitMuseu de Cádis
39
Saint John the BaptistCincinnati Art Museum
40
PORTRAIT DE DON LUIS DE HARO
41
St. John the Evangelist giving communion to the Virgin
42
The vision of St. Felix of CantaliceMuseu de Cádis
43
Descent into Limbo1640 · Museu de Arte do Condado de Los Angeles
44
Saint Jean Evangeliste et la coupe empoisonnéeMuseu do Louvre
45
Maria1646 · Szépművészeti Múzeum
46
Cène à Emmaüs
47
Saint Anthony the Abbot
48
The Vision of Saint John
49
The Virgin and the ChildMuseu do Prado
50
St. John the Evangelist
51
A kneeling infant, perhaps the infant John the Baptist
52
A Spanish kingMuseu do Prado
53
The Entombment
54
The Miracle at the Well
55
The visit
56
Angels Ministering to St. Sebastian
57
Crucifixion
58
Two kings of SpainMuseu do Prado
59
Three Putti Holding Cross Before Two Male Saints
60
San Pedro liberado por el ángelMuseu do Prado
61
San Benito en la visión del y los tres ángelesMuseu do Prado
62
San Antonio de Padua
63
San Juan de Capistrano y San Bernardino de Siena
64
San Jerónimo Penitente
65
The announciation
66
Saint Bernardin de Sienne et saint Jean de Capistran
67
El milagro del pozo
68
Los desposorios de la Virgen
69
Visitation
70
The Dead Christ Supported by an Angel 1Museu do Prado
71
St. Vincent Ferrer Preaching
72
Christ and the samaritan
73
La Visitation
74
L'AnnonciationGoya Museum
75
St. John the Evangelist with the Poisoned Cup
76
Unknown Lady as St Elizabeth
77
Le Mariage de la Vierge Los Desposorios de la Virgen
78
Design for a fountainMuseu de Belas Artes de Córdoba
79
Statue of Saint FrancisChâteau de Villandry
80
Inmaculada
81
The Miracle of Saint Dominic in Soriano
82
The Virgin and Child1645 · Museu do Prado
83
The Vision of St Bernard1650 · Museu do Prado
84
San Francisco de Borja (Saint Francis Borgia)1624 · Museu de Belas Artes de Sevilha
85
Saint Agnes1636 · Bode Museum
86
The Miracle of the WellMuseu do Prado
Os quatro temas que mais se repetem nestas obras originais, cada um com o seu melhor exemplo.
Os 8 museus que detêm a maioria das pinturas desta página.
| Museus | Cidade | Obras de Alonso Cano | Pinturas desta lista |
|---|---|---|---|
 Museu do Prado |
Madrid | 17 | The Crucifixion, The crucified Christ appears to Saint Teresa, Saint Anthony of Padua |
 Museu do Louvre |
Paris | 5 | St James the Greater, St James the Greater, Saint Jacques le Majeur |
 Szépművészeti Múzeum |
Budapeste | 3 | St John the Evangelist on Pathmos, Noli me Tangere, Maria |
 Museu Hermitage |
São Petersburgo | 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 |
Londres | 2 | Saint John the Evangelist's Vision of Jerusalem (detail), Saint John the Evangelist's Vision of Jerusalem |
 Museu de Cádis |
Cádis | 2 | Self-portrait, The vision of St. Felix of Cantalice |
Escolha uma década para ver a obra original que a define.
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 oil painting on canvas presents a pyramidal arrangement of figures set against a backdrop of heavy, moving clouds. At the apex of this structure, the Virgin Mary is seated, draped in a blue cloth that falls in deep, heavy folds. She holds the infant Jesus, who is clothed in white garments. Below them, Saint Anthony the Great is positioned, wearing a brown robe. The scene is illuminated by a…
The Crucifixion (1650), Museu do Prado, Madrid. Portrait of Garcilaso de la Vega (?) (1635) e The crucified Christ appears to Saint Teresa (1629) vêm a seguir.
49 anos: The Crucifixion data de 1650, e Alonso Cano nasceu em 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, The Virgin Mary Appears to Saint Anthony, St. Stephanus, Dominican monk, Portrait of an Ecclesiastic e Christ Crucified. O ranking acima apresenta o ano e o museu de cada uma.
Nosso catálogo contém 88 obras de Alonso Cano, datadas de 1624 a 1666.
Principalmente em Museu do Prado (Madrid), Museu do Louvre (Paris) e Szépművészeti Múzeum (Budapeste). A tabela de museus acima lista todos eles.
Em 1640s: 14 das 86 obras nesta página foram feitas então, sendo The Virgin Mary Appears to Saint Anthony delas.
Nesta página, a mais antiga é San Francisco de Borja (Saint Francis Borgia) (1624) e a mais recente é Eve (1666).
Religious (21), Man (16) e Woman (9), entre as 86 obras nesta página.
Oil On Canvas, para 31 das 86 obras nesta página.
Baroque, a julgar pelos originais nesta página.
The Crucifixion, The crucified Christ appears to Saint Teresa e Saint Anthony of Padua: o Museu do Prado, Madrid detém 17 das obras desta página.
Alonso Cano Almansa ergue-se como uma figura singular no Século de Ouro espanhol, um verdadeiro polímata cujo espírito criativo recusava-se a ser confinado a um único meio. Nascido em Granada, Espanha, ele foi um talento raro que dominou as distintas disciplinas da pintura, escultura e arquitetura com igual fervor. Sua jornada artística começou sob a orientação de seu pai, Miguel Cano, de quem herdou os princípios fundamententes da arquitetura. Essa compreensão estrutural viria a informar, mais tarde, a profundidade espacial e a presença monumental encontradas em suas obras visuais.
Sua educação foi uma tapeçaria das mais finas influências disponíveis no mundo da arte espanhola. No reino da pintura, ele refinou sua pincelada na academia de Juan del Castillo e estudou sob Francisco Pacheco, o estimado mestre de Velázquez. Essa linhagem conectou-o diretamente ao coração do movimento Barroco, infundindo suas telas com um senso de tensão dramática e luminosidade espiritual. Simultaneamente, sua destreza escultórica foi forjada sob a tutela de Juan Martínez Montañés, permitindo-lhe dar vida à pedra e à madeira com um profundo sentido de graça anatômica e ressonância emocional.
A obra de Cano é caracterizada por uma habilidade extraordinária de capturar o divino dentro da forma humana. Como escultor, ele alcançou renome duradouro através de peças como a Madona e o Menino na igreja de Lebrija e suas figuras colossais e imponentes de São Pedro e São Paulo. Estas obras demonstram um domínio de escala e uma capacidade de evocar profunda devoção religiosa por meio da presença física.
Em suas pinturas, Cano utilizou as técnicas dramáticas da era Barroca para criar momentos de intenso encontro espiritual. Suas composições frequentemente apresentam:
A importância do talento de Alonso Cano foi reconhecida nos mais altos níveis da corte espanhola. Seu prestímente levou à sua nomeação como o primeiro arquiteto real e pintor de Filipe IV. Sua influência estendeu-se até mesmo à educação da próxima geração, servindo como instrutor do príncipe Baltasar Carlos. Esta proximidade com o poder permitiu-lhe deixar uma marca indelével na paisagem arquitetônica da Espanha; notavelmente, ele atuou como arquiteto-chefe da Catedral de Granada, projetando sua magnífica fachada que foi finalmente erguida após seu falecimento.
Além de seus títulos oficiais, o legado de Cano está preservado no próprio tecido da cultura andaluza. Sua capacidade de entrelaçar o rigor estrutural da arquitetura, a emoção tátil da escultura e a narrativa luminosa da pintura garante seu lugar como um dos mestres mais versáteis e essenciais do Barroco espanhol.
