Lo múltiple en Alonso Cano escultor

Abstract

Analizada globalmente la obra total de Alonso Cano, se hace evidente que el concepto que el artista tuvo y practicó de la forma plástica revela bien a las claras una vocación fundamentalmente de escultor, sin que en nada se contradiga su apasionamiento y aguda capacidad para el color y para la creación de los espacios pictóricos y arquitectónicos. Pero, al final, pienso que Cano ve siempre la forma, libre y con plenitud, como volumen en redondo. Curiosamente, es bien significativo —por lo que hasta hoy se conoce—, que no practicara el relieve escultórico, modalidad de mayor naturaleza pictórica dentro del propio lenguaje escultórico.

In the following study, Alonso Cano's polifacetic activity is approached from the point of view of his work as sculptor, focusing on the manyfold connections among his ideas on plastic art which are displayed in his sculptures, paintings, architecture and drawings. Instead of providing a detailed account of the differences between Cano as sculptor and Cano as painter or architect, the author aims to show what is common in his creations, considering these as "multiple" though being the outcome of one individual's concept and making. Besides that, new ascriptions corresponding to his Granadian period are brought to come to a final proposal for a catalogue of Cano's sculptoric work.