Published
November 27, 2009
Keywords:
Religious painting, Spanish school, 17th century, Altarpiece, Madrid, Getafe
How to Cite
Blanco Mozo, J. L. (2009). Alonso Cano in Madrid: new Inputs, new Problems. Anuario Del Departamento De Historia Y Teoría Del Arte, 21, 147–164. https://doi.org/10.15366/anuario2009.21.008
Copyright (c) 2015 Anuario del Departamento de Historia y Teoría del Arte
This work is licensed under a Creative Commons Attribution 4.0 International License.
Abstract
The arrival of Alonso Cano in Madrid marked a radical change in his professional practice. He left his Sevillian guild to work in several royal orders at Philip IV's request. In this context, he worked with other artists such as the silversmith Joaquín Pallares- probably the first owner of Alonso Cano's "Descent into Limbo",and the sculptor Bernabé Contreras. During this period, he made paintings of the side altars of Magdalena of Getafe's church without participating in the manufacture of his wood work.
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