Abstract
Vicente Alanís was the Sevillian painter who most openly derived from late baroque aesthetics into the most typical academicism advocated by the Royal School of the Three Noble Arts, a board in which he held several positions and in which his professional career ended. In 1795 he executed the painting Animas in the parish of Santa María de la Encina and San Juan Bautista, in the town of Burguillos del Cerro, Badajoz. The canvas testifies the aroma of historical thought in a place other than a heart of power at the end of the Old Regime, and shows the importance of the of art ideas and influence trafficking. As a result of this discovery, I have been able to add some other works to his oeuvre.
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