Inmaculada de alonso cano

The crucifixion

The composition is dynamic, predominating the line or helicoidal scheme.  . The mantle whose folds are somewhat rigid and voluminous follows a helical line that starting at the feet hides the right leg and part of the left until it covers the left shoulder of the Virgin, this broken line plus the elbow focuses our view on the hands and the face .

The seventeenth century is the century of economic, demographic, political crisis and it is also the Golden Century. In this context of crisis nothing better than to move and attract the masses with religious themes whose contents are close to their daily lives.

IF THE CASTELLAN IMAGINERY , whose best representative is Gregorio Fernandez , is characterized by pathos and dramatism as forms of emotional attraction of believers , the ANDALUSIAN SCHOOL with several centers in : Seville; Granada, Malaga, will be CHARACTERIZED:

: Realism but more serene:: less blood; less pathetic expression, softer anatomical modeling. and greater taste for beauty hence the development of images to dress with richly embroidered vestments.( Nazarenes and Dolorosas).

Descenso al limbo

Fue nombrado primer arquitecto real, pintor de Felipe IV, e instructor del príncipe, Baltasar Carlos, Príncipe de Asturias. El rey le concedió la preferencia eclesiástica de canónigo de la catedral de Granada (1652),[1] para ocupar el puesto de arquitecto mayor de la catedral, donde su principal logro en arquitectura fue la fachada, diseñada al final de su vida y erigida según su diseño después de su muerte[cita requerida].

Era famoso por su temperamento ingobernable, y se dice que una vez arriesgó su vida al cometer el entonces delito capital de hacer pedazos la estatua de un santo, cuando estaba enfadado con el comprador que le negaba el precio que exigía[2][1] Según otra historia, encontró su casa robada después de llegar a casa una noche, su esposa asesinada, y su sirviente italiano huyó. A pesar de la presunción contra el fugitivo, los magistrados condenaron a Cano, por ser de temperamento celoso[3], tras lo cual huyó a Valencia, pero después regresó a Madrid, donde fue sometido al suplicio, que soportó sin incriminarse, y el rey lo recibió en gracia[4].

St. vincent ferrer preaching

He considered himself above all a painter, although within his sculptural production were key to the history of art works such as the Immaculate Conception, made in 1655, in a stage of maturity. Made of cedar wood and polychromed by himself, it is only 50 cm high.

Although the Marian sculpture was conceived for the lectern of the Cathedral of Granada. Because of its delicate forms and virtuosity, it was soon moved to the sacristy, to protect it and at the same time favor its contemplation.

Alonso cano street

His father, Miguel Cano, was a prestigious assembler of altarpieces of La Mancha origin, his mother, Maria Almansa (native of Villarrobledo), who could also have practiced drawing. They settled in Granada, and soon after Alonso was born, being baptized in the parish of San Ildefonso, where an altarpiece with the traces of his father is preserved. Alonso learned his first notions of architectural drawing and imagery, collaborating early on in his father’s commissions in Granada, as his parents soon began to discover his talent. It is said that, on a visit to Granada by the painter Juan del Castillo in 1614, he noticed the boy’s great gifts and advised his father to take him to Seville, where there was an artistic environment more in keeping with his talent.

In 1638 Cano moved to the capital, where Philip IV’s favourite, the powerful Count-Duke of Olivares, appointed him chamber painter. He was also the drawing teacher of Prince Baltasar Carlos. Because of his proximity to the court, Cano was able to get to know the royal collections, rich in 16th century Venetian painting and recent works by his colleague Velázquez. All this helps to explain his evolution from Caravaggio-derived tenebrism to a more colorful style with elegant figures that sometimes recall Van Dyck.