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Francisco Antonio Cano

(1865/1935)

Study for the painting "The Christ of Forgiveness", ca. 1905

Painting (oil on canvas)
Colección Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Untitled, (study for the painting "The Christ of Forgiveness", I) , ca. 1909

Painting (oil on canvas)
Colección Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Untitled, (study for the painting "The Christ of Forgiveness", II), ca. 1909

Painting (oil on canvas)
Colección Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Untitled, (study for the painting "The Christ of Forgiveness", III), ca. 1909

Painting (oil on canvas)
Colección Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Untitled, (study for the painting "The Christ of Forgiveness", IV), ca. 1909

Painting (oil on canvas)
Colección Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Untitled, male head, s.f.

Painting (oil on canvas)
Colección Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Untitled, (study for the painting "The Christ of Forgiveness"), 1910

Painting (oil on canvas)
Colección Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Untitled, (study for the painting "The Christ of Forgiveness"), ca. 1909

Drawing (ink on paper)
Colección Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Untitled, (study for the painting "The Christ of Forgiveness"), s.f.

Drawing (charcoal and sanguine on paper)
Colección privada en comodato con el Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Untitled, (study for the painting "The Christ of Forgiveness"), ca. 1909

Drawing (pencil on paper)
Colección Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Untitled, (study for the painting "The Christ of Forgiveness"), ca. 1909

Drawing (pencil on paper)
Colección Museo de Antioquia

Francisco Antonio Cano Cardona

Francisco Antonio Cano

(1865/1935)

Untitled, (study for the painting "The Christ of Forgiveness"), s.f.

Drawing (white chalk or white pastel, sepia and sanguine on paper)
Colección privada en comodato con el Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Untitled, (study for the painting "The Christ of Forgiveness"), ca. 1909

Drawing (sanguine and pencil on paper)
Colección Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Untitled, (study for the painting "The Christ of Forgiveness"), s.f.

Drawing (charcoal, sanguine and white chalk or white pastel on paper)
Colección privada en comodato con el Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Untitled, (hand study for the painting "The Christ of Forgiveness"), s.f.

Drawing (charcoal and white chalk or white pastel on paper)
Colección privada en comodato con el Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Untitled, (study for the painting "The Christ of Forgiveness"), s.f.

Mixed media (charcoal and oil on paper)
Colección privada en comodato con el Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Untitled, (study of a screaming and yelling man for the painting "The Christ of Forgiveness"), ca. 1909

Drawing (pencil on paper)
Colección Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Untitled, (study for the painting "The Christ of Forgiveness"), s.f.

Drawing (charcoal on paper)
Colección privada en comodato con el Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Medellín, Metropolitan Cathedral under construction, 1896

Drawing (ink and pencil on paper)
Colección privada en comodato con el Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Jesus and the Samaritan woman, 1910

Painting (oil on canvas)
Colección Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Untitled, (study for the painting " Jesus and the Samaritan woman"), ca. 1910

Painting (ink and pencil on paper)
Colección Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Saint Joseph*, 1905

Painting (oil on canvas)
Colección Museo de Antioquia

*Josepho or Josephus is a latinized form of the name Joseph, used in some religious contexts to refer to Saint Joseph. The term "Divo Josepho" emphasizes Joseph's holiness and connection to the divine as a member of the Holy Family.

Francisco Antonio Cano

(1865/1935)

(Untitled, (study for the painting "Divo Josepho"), ca. 1905

Drawing (charcoal on paper)
Colección privada en comodato con el Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

(Untitled, (study of a child for the painting "Divo Josepho"), ca. 1905

Drawing (charcoal on paper)
Colección privada en comodato con el Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

The Baptism of Christ, 1906

Painting (oil on paper adhered to wood)
Colección Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Untitled, (study for the painting "The Baptism of Christ"), 1901

Drawing (color pencils on paper)
Colección privada en comodato con el Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Untitled, (study of a kneeling, praying figure, for the painting "The Baptism of Christ") ca. 1906

Drawing (charcoal, white chalk or white pastel on paper)
Colección privada en comodato con el Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Untitled, (study of Saint Joachim for the painting “The Presentation of the Virgin in the Temple” *), ca. 1903

Drawing (charcoal and sanguine on paper)
Colección privada en comodato con el Museo de Antioquia

* The Presentation of the Virgin in the Temple is a monumental painting by Francisco Antonio Cano executed in 1903 for the former headquarters of La Presentación School, located on 48 Pichincha Street and Avenida Oriental in the downtown. Although the building's function changed in 1994 when it became the headquarters of the Metropolitan Police Command, the 380 x 600 cm oil on canvas painting remains in the same location, downtown Medellín.

Francisco Antonio Cano

(1865/1935)

Untitled, (study of figure for the painting “The Presentation of the Virgin in the Temple” *), ca. 1903

Drawing (charcoal on paper)
Colección privada en comodato con el Museo de Antioquia

* The Presentation of the Virgin in the Temple is a monumental painting by Francisco Antonio Cano executed in 1903 for the former headquarters of La Presentación School, located on 48 Pichincha Street and Avenida Oriental in the downtown. Although the building's function changed in 1994 when it became the headquarters of the Metropolitan Police Command, the 380 x 600 cm oil on canvas painting remains in the same location.

Francisco Antonio Cano

(1865/1935)

Untitled, (study for the hands of Saint Anne for the painting “The Presentation of the Virgin in the Temple”, used as a tracing for the original painting *), ca. 1903

Drawing (pencil on paper)
Colección privada en comodato con el Museo de Antioquia

* The Presentation of the Virgin in the Temple is a monumental painting by Francisco Antonio Cano executed in 1903 for the former headquarters of La Presentación School, located on 48 Pichincha Street and Avenida Oriental in the downtown. Although the building's function changed in 1994 when it became the headquarters of the Metropolitan Police Command, the 380 x 600 cm oil on canvas painting remains in the same location.

Francisco Antonio Cano

(1865/1935)

Untitled, (study for the hands of Saint Anne for the painting “The Presentation of the Virgin in the Temple”, used as a tracing for the original painting *), ca. 1903

Francisco Antonio Cano

(1865/1935)

Untitled, (study for the hands of Saint Joachim for the painting “The Presentation of the Virgin in the Temple” *), ca. 1903

Dibujo (lápiz/papel) Drawing (pencil on paper)
Colección privada en comodato con el Museo de Antioquia

* The Presentation of the Virgin in the Temple is a monumental painting by Francisco Antonio Cano executed in 1903 for the former headquarters of La Presentación School, located on 48 Pichincha Street and Avenida Oriental in the downtown. Although the building's function changed in 1994 when it became the headquarters of the Metropolitan Police Command, the 380 x 600 cm oil on canvas painting remains in the same location.

Francisco Antonio Cano

(1865/1935)

Untitled, (study for the figure of Christ), s.f.

Drawing (charcoal and pastels on paper)
Colección privada en comodato con el Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Sketch for mural painting on church tympanum, (“The Sermon on the Mount”), s.f.

Drawing (pencil on paper)
Colección privada en comodato con el Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Francisco Antonio Cano Cardona

(1865/1935)

Study for "Jesus encounter with Bartimaeus, the blind beggar of Jericho", Biblical theme, s.f.

Drawing (color pencils on paper)
Colección privada en comodato con el Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

(Untitled, (study for the painting "The Christ of Forgiveness"), s.f.

Drawing (pencil on paper)
Colección privada en comodato con el Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Untitled, (study for the painting "The Christ of Forgiveness")s.f.

Drawing (charcoal on paper)
Colección privada en comodato con el Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Untitled, (study for the painting "The Christ of Forgiveness"), s.f.

Dibujo (lápiz/papel) Drawing (pencil on paper)
Colección privada en comodato con el Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Sketch of Saul of Tarsus (Apostle Saint Paul), blinded by a heavenly light before his conversion, or sketch of Bartimaeus, a blind beggar from Jericho, s.f.

Drawing (pencil and color pencils on paper)
Colección privada en comodato con el Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Untitled, (study of tunic with hood), s.f.

Drawing (pencil on paper)
Colección Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

(Untitled, study of a woman in a tunic), s.f.

Drawing (pencil on paper)
Colección privada en comodato con el Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

The Virgin of the Lilies, 1908

Painting (oil on canvas)
Colección Congregación Mariana Medellín

Francisco Antonio Cano

(1865/1935)

Untitled, (drawings based on works by the French painter James Tissot), ca. 1909

Drawing (pencil on paper)
Colección Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Untitled, (drawings based on works by the French painter James Tissot), ca. 1909

Drawing (pencil on paper)
Colección Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Untitled, (drawings based on works by the French painter James Tissot)ca. 1909

Drawing (pencil on paper)
Colección Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Tangier, (view of the main gate to the Medina, known as Bab el Fahs)), 1899

Drawing (pencil on paper)
Colección privada en comodato con el Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Antonio Nariño, (based on the model of Ricardo Acevedo Bernal) s.f.

Drawing (pencil on paper)
Colección privada en comodato con el Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Untitled, (study of a gabardine), s.f.

Drawing (pencil on paper)
Colección privada en comodato con el Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

General Bolívar observing, (study for the painting “The Liberator Army crossing through the Pisba paramo”, s.f.

Drawing (pencil on paper)
Colección MUUA / Museo Universitario de la Universidad de Antioquia

Francisco Antonio Cano

(1865/1935)

Portrait of the Liberator Simón Bolívar, (study for the painting “The Liberator Army crossing through the Pisba paramo”)s.f.

Drawing (pencil on paper)
Colección MUUA / Museo Universitario de la Universidad de Antioquia

Francisco Antonio Cano

(1865/1935)

Untitled, (study for the painting “The Liberator Army crossing through the Pisba paramo”), 1919

Drawing (pencil on paper)
Colección MUUA / Museo Universitario de la Universidad de Antioquia

Francisco Antonio Cano

(1865/1935)

Sketch for a portrait of Simón Bolívar, 1930

Drawing (pencil on paper)
Colección MUUA / Museo Universitario de la Universidad de Antioquia

Francisco Antonio Cano

(1865/1935)

Studies for the painting “The Liberator Army crossing through the Pisba paramo”"), ca. 1919

Drawing (pencil on paper)
Colección MUUA / Museo Universitario de la Universidad de Antioquia

Francisco Antonio Cano

(1865/1935)

Study for the painting “The Liberator Army crossing through the Pisba paramo”s.f.

Drawing (pencil on paper)
Colección privada en comodato con el Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Study of soldiers and armies for the painting “The Liberator Army crossing through the Pisba paramo”), s.f.

Drawing (ink on paper)
Colección privada en comodato con el Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Saddled horse, study for the painting “The Liberator Army crossing through the Pisba paramo”, s.f.

Drawing (pencil on paper)
Colección privada en comodato con el Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Two thousand Colombian peso banknotes, 1994

Printing (inks/paper money)
Colección Museo de Antioquia

DE LA RUE DE COLOMBIA, EMISOR THOMAS DE LA RUE & CO. LTD. (1821), FABRICANTE

Two thousand Colombian peso banknotes, 1994

Printing (inks/paper money)
Colección Museo de Antioquia

*Depicts Francisco Antonio Cano's work: “The Liberator Army crossing through the Pisba paramo”. Oil on canvas. Casa Museo Quinta de Bolívar Collection, Bogotá)

Batalla del Pantano de Vargas / La Batalla del Pantano de Vargas, 25 de julio de 1819

Francisco Antonio Cano

(1865/1935)

Study for the Battle of Vargas Swamp Lancers s.f.

Drawing (pencil on paper)
Colección privada en comodato con el Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Dead soldiers, s.f.

Painting (watercolor on paper)
Colección privada en comodato con el Museo de Antioquia

Paso de vencedores, La Batalla de Ayacucho, 9 de diciembre de 1824

Francisco Antonio Cano

(1865/1935)

Pass of the Victors, 1916

Painting (oil on canvas)
Colección Ejército Nacional de Colombia Escuela Militar de Cadetes José María Córdova, Bogotá

Francisco Antonio Cano

(1865/1935)

Study of a General on horseback (José María Córdova) for the painting “Pass of the Victors”1916

Drawing (ink on paper)
Colección MUUA / Museo Universitario de la Universidad de Antioquia

Francisco Antonio Cano

(1865/1935)

Studies of soldiers for the painting “Pass of the Victors”), s.f.

Drawing (pencil on paper)
Colección privada en comodato con el Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Studies of soldiers for the painting “Pass of the Victors”), s.f.

Drawing (pencil on paper)
Colección privada en comodato con el Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

Study of a General on horseback (José María Córdova) for the painting “Pass of the Victors”, s.f.

Drawing (pencil on paper)
Colección privada en comodato con el Museo de Antioquia

Francisco Antonio Cano

(1865/1935)

(Self-portrait in profile)

Painting (oil/cardboard)
Colección privada en comodato con el Museo de Antioquia