11 - ALONSO CANO (Granada, 1601–1667).

ALONSO CANO (Granada, 1601–1667). “Our Lady of Sorrows.” Carved and polychromed wood. Work exhibited in *From the Middle Ages to the Baroque: Spanish and European Sculpture*. Ansorena. Madrid. Measurements: 54 x 36 x 23 cm. Of unique iconographic interest and profound devotional significance, this depiction of Our Lady of Sorrows represents one of the most deeply rooted Marian images in Granada’s religious tradition. The Virgin presents to the faithful the lifeless body of her Son, laid out on an altar and framed by the cross from which the shroud still hangs, creating a scene of great spiritual intensity. Unlike the traditional iconography of the Pietà, in which Mary receives Christ’s body and holds it in her lap after the Deposition, here the composition takes on an eminently expository character. The composition is part of an iconographic tradition particularly linked to Granada, where devotion to Our Lady of Sorrows became extraordinarily widespread, making her one of the city’s most important spiritual and artistic symbols. From a stylistic perspective, this composition allows for interesting parallels to be drawn with the religious works of Alonso Cano, particularly in the monumental conception of the figures, the idealization of the faces, and the sensitivity with which the theme of the dead Christ is addressed. In this regard, a comparison with *The Dead Christ Supported by an Angel* (1646–1652), housed in the Museo Nacional del Prado, is particularly significant; in that work, Cano likewise presents the lifeless body of Christ with a sense of solemnity and restrained emotion. Also relevant is the reference to *Saint Bernard and the Virgin* (1645–1652), from the same museum, a work in which the monumentality of the figures, the balance of the composition, and the delicacy of the color treatment stand out. For its part, the Immaculate Conception at the National Gallery in London, painted around 1628, allows us to appreciate the idealized elegance of the female figures and the distinctive spirituality that Cano imbues in his Marian depictions. These affinities place this work within the context of the artistic sensibility developed by the master from Granada and the devotional tradition of which he was one of the leading figures. Alonso Cano was one of the key figures of the Spanish Baroque and one of the most accomplished artists of his time, excelling as a painter, sculptor, and architect. He began his training in Seville in the studio of Francisco Pacheco, where he studied alongside Velázquez, and became acquainted with the sculptural tradition of Juan Martínez Montañés. In 1638, he moved to Madrid, where he was appointed court painter to Philip IV. His time at court enriched his artistic style, incorporating Venetian and Flemish influences. In 1652, he returned to Granada, where he worked extensively on the Cathedral and made a decisive contribution to the creation of the Granada school, influencing artists such as Pedro Atanasio Bocanegra, José de Mora, and Pedro de Mena.His works are represented in the Louvre in Paris, the Hermitage in St. Petersburg, and the Metropolitan Museum of Art in New York.