Spanish, 1601-67 Spanish painter, sculptor and architect. He was an artist of rare versatility in 17th-century Spain, although his architectural work was not extensive. While he is also known for his drawings, only about 60 of these are definitely attributable to him, despite the many extant sketches with the name 'Cano' carelessly added by later hands. Unlike most of his Spanish contemporaries, such as Zurbaren or Velezquez, whose artistic styles did not outlive them, Cano's artistic legacy is measured in part by the number of artists who trained in his workshop and went on to become important masters in their own right: the painters Pedro Atanasio Bocanegra, Juan de Sevilla (1643-95) and, more distantly, Jos Risueo, and the sculptors Pedro de Mena and Jos de Mora,  Related Paintings of Cano, Alonso :. | Saint John the Evangelist-s Vision of Jerusalem | Saint John the Evangelist's Vision of Jerusalem | St. John the Evangelist with the Poisoned Cup a | St James the Greater | Portrat eines spanischen Konigs |
Related Artists:
Benson, Frank
American, 1862-1951 American painter, etcher and teacher. He attended the School of the Museum of Fine Arts, Boston, from 1880 to 1883 as a student of Otto Grundmann (1844-90) and Frederick Crowninshield (1845-1918). In 1883 he travelled with his fellow student and lifelong friend Edmund C. Tarbell to Paris, where they both studied at the Acad?mie Julian for three years with Gustave Boulanger and Jules Lefebvre. Benson travelled with Tarbell to Italy in 1884 and to Italy, Belgium, Germany and Brittany the following year. When he returned home, Benson became an instructor at the Portland (ME) School of Art, and after his marriage to Ellen Perry Peirson in 1888 he settled in Salem, MA. Benson taught with Tarbell at the Museum School in Boston from 1889 until their resignation over policy differences in 1913.
Jean Cousin THe Elder
Sens ca .1490-Paris ca 1560
STRIGEL, Hans II
German painter, Swabian school (active 1450-1480 in Memmingen). Painter. The panels of the Montfort-Werdenberg Altarpiece and a Deposition mural (1477), fragment of a series in the church at Tiefenbach, Allgäu, are documented as his. They show an artist in the tradition of Hans Multscher, using strongly foreshortened perspectives for an emphatic relaying of realities. In the 1470s he attempted to tone down the contrasts, to organize his figures after the manner of the Master of Sterzing: a change of style shown in the panels of the Mickhausener altar (Budapest, Mus. F.A.) and the Saints and Passion scenes in the Oberhaus-Museum