Page 84 - The mystery of faith

ALONSO CANO

(Granada 1601–1661)

6. Inmaculada

c. 1650–1660
Wood, polychromed and gilded

64 cm (25 ¼ in.)
PROVENANCE: Enrique Pelta, Madrid

I n 1652, Alonso Cano, a sculptor, painter and architect, returned to his hometown of Granada
after an absence of thirty-six years. With the exception of some temporary trips or visits to cities
such as Madrid and Malaga, Cano was to remain there until his death, and it is during this final
stage in his career that he forged the mature style that was to become the inspiration and aesthetic
model for the Granada School.

Cano’s life may be divided into three important periods that coincide with the different artistic contexts
that shaped his personal style. Although originally born in Granada, at the age of fifteen he moved to
Seville where his father, Miguel Cano, a joiner and the architect of altarpieces, lived.

After acquiring the technical knowledge for constructing architectural elements in wood in his father’s
bottega – alongside Diego Velázquez, who was also working in Miguel’s shop at the time and would
later become his son-in-law – Cano then entered the Seville workshop of Francisco Pacheco to learn the
art of painting. He remained in Seville for twenty-one years, and in consequence his development
evolved in close proximity to Velázquez, Zurbarán, Martínez Montañés, Juan de Mesa, Luis Ortíz de
Vargas, José de Arce and Felipe de Ribas. Cano learned the three arts (architecture, painting and
sculpture) and at the age of twenty-four took the exams required to open a workshop. His pictorial
style rapidly evolved from an early Sevillian aesthetic style, which is visible in his San Francisco de
Borja, signed and dated 1624 (Seville, Museo de Bellas Artes), to his first personal autograph works,
such as the paintings that originally formed the large San Juan Evangelista altarpiece in the Monastery
of Saint Paula in Seville (1635–1637, now in Paris, Louvre; London, Wallace Collection; Sarasota,
Ringling Museum; and Mexico City, Museo de San Carlos).

With regard to his training as a sculptor, Cano has traditionally been associated with Juan Martínez
Montañés, although, as yet, it has not been possible to document his relationship to any specific artist
during this period. The style of his early works, such as the sculptures for the main altarpiece of the
Church of Nuestra Señora de la Oliva, Lebrija (Seville), made between 1629 and 1633, reflect the
influence of Martínez Montañés, while nevertheless retaining Cano’s own creative personality.
Moreover, Cano’s style provides more expressive formal characteristics, and depicts a greater vibrancy
in the treatment of the textiles, and these two stylistic traits point towards a relationship with Juan de
Mesa, Martínez Montañés’ greatest follower. Due to his premature death, Mesa’s full potential must

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