Updated Outubro 2026 · ranked by our popularity score (searches, visits and orders for each work) · 88 works by Alonso Cano in our catalogue
Sumário
According to this ranking, The Crucifixion (1650) is the most famous painting by Alonso Cano; the Museu do Prado, Madrid, holds it. It is followed by Portrait of Garcilaso de la Vega (?) (1635) and The crucified Christ appears to Saint Teresa (1629). This list draws on the 88 works by Alonso Cano in the catalogue and records the 88 most famous, with date, holding museum and description for each entry.
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 · Museu do Prado
12
St. Vincent Ferrer Preaching1644 · Fundacion Banco Santander
13
S. Vincent preaching1644
14
The Crucifixion1638 · Museu Hermitage
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 · Real Academia de Bellas Artes de San Fernando
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 · Museu do Prado
26
St James the Greater1635 · Museu do Louvre
27
The Miracle at the Well1646 · Museu do Prado
28
Saint John the Evangelist's Vision of Jerusalem (detail)1636 · Wallace Collection
29
Eve1666 · Catedral de Granada
30
The Dead Christ Supported by an Angel1646 · Museu do Prado
31
St John the Evangelist on Pathmos1646 · Szépművészeti Múzeum
32
Noli me Tangere1640 · Szépművészeti Múzeum
33
St James the Greater1635 · Museu do Louvre
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 MajeurMuseu do Louvre
38
St John the Evangelist1636 · Museu do Louvre
39
Self-portraitMuseu de Cádis
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 CantaliceMuseu de Cádis
44
Descent into Limbo1640 · Museu de Arte do Condado de Los Angeles
45
Saint Jean Evangeliste et la coupe empoisonnéeMuseu do Louvre
46
Maria1646 · Szépművészeti Múzeum
47
Cène à Emmaüs
48
Saint Anthony the Abbot
49
The Vision of Saint John
50
The Virgin and the ChildMuseu do Prado
51
St. John the Evangelist
52
A kneeling infant, perhaps the infant John the Baptist
53
A Spanish kingMuseu do 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 SpainMuseu do Prado
61
Three Putti Holding Cross Before Two Male Saints
62
San Pedro liberado por el ángelMuseu do Prado
63
San Benito en la visión del y los tres ángelesMuseu do 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 1Museu do 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 fountainMuseu de Belas Artes de Córdoba
81
Statue of Saint FrancisChâteau de Villandry
82
Inmaculada
83
The Miracle of Saint Dominic in Soriano
84
The Virgin and Child1645 · Museu do Prado
85
The Vision of St Bernard1650 · Museu do Prado
86
San Francisco de Borja (Saint Francis Borgia)1624 · Museu de Belas Artes de Sevilha
87
Saint Agnes1636 · Bode Museum
88
The Miracle of the WellMuseu do Prado
The four subjects most frequently represented among these works, each with its best-known example.
The 8 museums that hold the most of the paintings on this page.
| Museum | City | Works by Alonso Cano | Paintings from this list |
|---|---|---|---|
 Museu do Prado |
Madrid | 18 | 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 |
Select a decade to display its principal painting.
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), Museu do Prado, Madrid. The following entries are Portrait of Garcilaso de la Vega (?) (1635) and The crucified Christ appears to Saint Teresa (1629).
49 years: Alonso Cano was born in 1601 and The Crucifixion is dated 1650.
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 list above records the date and holding museum of each.
The catalogue records 88 works by Alonso Cano, dated between 1624 and 1666.
Principally in Museu do Prado (Madrid), Museu do Louvre (Paris) and Szépművészeti Múzeum (Budapeste). The museum table above gives the full distribution.
In 1640s: 14 of the 88 works listed on this page are dated to that period, including The Virgin Mary Appears to Saint Anthony.
The earliest dated work listed here is San Francisco de Borja (Saint Francis Borgia) (1624); the latest is Eve (1666).
Religious (22), Man (10) and Saints (9), out of the 88 works listed on this page.
Oil On Canvas, in 21 of the 88 works listed on this page.
Baroque, as documented by the works on this page.
The Crucifixion, The crucified Christ appears to Saint Teresa and Saint Anthony of Padua are among the 18 works on this page in the collection of the Museu do Prado, Madrid.
Yes. Each work listed on this page can be ordered from its own entry as a hand-painted oil reproduction or a fine art print, in a size of your choice.
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.
