Alonso Cano’s rediscovered ‘Immaculate Conception’ for San Alberto, Seville
In 1628 the young Alonso Cano began work on three altarpieces for San Alberto, the church of the school of Calced Carmelites in Seville. All were dismantled and subsequently dispersed between 1810 and 1835. The appearance of one is recorded in a preparatory drawing by Cano. It combined Christ bearin...
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| Tipo de recurso: | artículo |
| Fecha de publicación: | 2023 |
| País: | España |
| Institución: | Universidad Complutense de Madrid (UCM) |
| Repositorio: | Docta Complutense |
| Idioma: | inglés |
| OAI Identifier: | oai:docta.ucm.es:20.500.14352/102683 |
| Acceso en línea: | https://hdl.handle.net/20.500.14352/102683 |
| Access Level: | acceso abierto |
| Palabra clave: | 75.034(46) Painting Baroque Naturalism Spanish Art Humanidades Historia del Arte 5506.02 Historia del Arte |
| Sumario: | In 1628 the young Alonso Cano began work on three altarpieces for San Alberto, the church of the school of Calced Carmelites in Seville. All were dismantled and subsequently dispersed between 1810 and 1835. The appearance of one is recorded in a preparatory drawing by Cano. It combined Christ bearing the Cross (Via Dolorosa), now in the Worcester Art Museum, Massachusetts, with an Immaculate Conception, which has recently come to light. |
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