He was born in 1601 and died in 1667; He was a rigorously contemporary Velazquez and Rembrandt. Towards the forty years was consecrated, especially in Madrid, to painting, and returned to his hometown in 1652. Perhaps the vision of works of art in the capital of Spain, would have matured and aerated her talent, because after your stay in Madrid sculptures show, in any case, an amplitude and an independence of what previously did; for example, the magnificent busts of Adam and Eve and the small and delicious Immaculate, in the Granada Cathedral. It is, in general, of small images that creates new types, with a harmonious balance between idealism and realism. By exception in this class of artists, he also sculpted in stone. Disciple of Cano was Pedro de Mena, Granada also, born in 1628. Mena entallo the choir of the Cathedral of Malaga, for which made the beautiful Medallion in relief of the Virgin with the child. Carver himself and inspired was also Pedro Roldan, antequerano, but who worked in Seville.
Yours is the magnificent altarpiece of the Church of the Hospital de Caridad de Sevilla. His daughter Louise (nicknamed the washer) was Carver and imaginera with a style of graceful femininity. However the subjects more sculpted into imagery are the Christ and the Virgin with child. The Christs. It seems that the representation of Christ on the cross is of Byzantine origin, where began to represent as well to explain the divine nature of Christ in times of the early heresies about the topic.
The figure of the crucified in the classical Romanesque period wood inherits the Byzantine model its deep symbolism of divinity. He tries to express Christ’s victory over death and, incidentally, the salvation of humanity. The Christ of Torres del Rio (Navarra) is shown in the attached photo. To do this, the body rests on the cross by four nails, adopting a symmetrical and perpendicular structure with arms extended horizontally and the vertical body without distortion except a slight flexion of the knees.