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Alonso Cano, painter, draughtsman, sculptor, and architect

Posted By Livia Stoenescu, Tuesday, April 11, 2017

Papers are sought for panel presentations on the seminal seventeenth-century painter, draughtsman, sculptor, and architect Alonso Cano (1601-1667). 500 – 1,000-word abstracts are invited for consideration on topics including but not limited to the following: Cano and Early Modernity; Cano and the Italian Renaissance; Cano and the Spanish Golden Age; Cano and the Modern Painter; Cano and the Age of Aesthetics; Cano and the Court Commissions for Philip IV (Madrid, Valencia, and Granada); The Extensive Body of Cano’s Drawings; Cano and Theatre/Theatricality; Cano as Architect; Cano as Sculptor; Cano’s Personal Library; Cano, Forerunners, and Inheritors.


Abstracts, one-page CV, and keywords should be sent by May 10th, 2017 to Livia Stoenescu at


Scholarly attention to the work of Alonso Canso has been irregular, consisting of a handful of articles in academic journals, and the anniversary exhibitions held in 2001/2002. Scholars attending to Cano include Zahira Véliz, Alonso Cano: 1601-1667; dibujos; catálogo razonado (Santander: Fundación Botín, 2011), and Ángel Aterido Fernández, Corpus Alonso Cano: documentos y textos (Madrid,  2002). Benito Navarrete has published various articles on Cano’s drawings and included new drawings in the catalog of Spanish drawings of the Uffizi, I Segni nel tempo. Dibujos españoles de los Uffizi (Fundación Mapfre-Galleria degli Uffizi, 2016). José Álvarez Lopera has provided a comprehensive study on Cano in Figuras e imágenes del barroco:estudios sobre el barroco español y sobre la obra de Alonso Cano (Madrid, Fundación Argentaria, Visor: 1999), provoking insights into the life and work of Cano that await further investigation.   


The presentations comprising “Alonso Cano, painter, draughtsman, sculptor, and architect” address this gap in scholarship in ways that will appeal to interests in Early Modern Art History and Culture, Spanish Baroque Art and Architecture, and the Spanish Golden Age. Collectively, these presentations situate Cano at the center of cultural change and read his work as profound early modern critique. Harold Wethey called attention to Cano’s complexity in his fundamental Alonso Cano: Painter, Sculptor, and Architect (Princeton, New Jersey: Princeton University Press, 1955).


A CFP for an edited collection will follow shortly after the 2018 meeting of New Orleans RSA with the expectation that this special session will have stimulated renewed scholarly consideration of the work of this seminal seventeenth-century figure.


Tags:  Early Modernity  Spanish and Italian Renaissance  Spanish Golden Age 

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