Antonio Canova (; 1 November 1757 – 13 October 1822) was an Italian Neoclassical sculptor, famous for his marble sculptures.
Often regarded as the greatest of the Neoclassical artists, his sculpture was inspired by the Baroque and the classical revival, and has been characterised as having avoided the melodramatics of the former, and the cold artificiality of the latter. ==Life== ===Possagno=== In 1757, Antonio Canova was born in the Venetian Republic city of Possagno to Pietro Canova, a stonecutter, and Maria Angela Zardo Fantolini.
In 1761, his father died.
As such, in 1762, he was put into the care of his paternal grandfather Pasino Canova, who was a stonemason, owner of a quarry, and was a "sculptor who specialized in altars with statues and low reliefs in late Baroque style".
After these works, he appears to have been constantly employed under his grandfather. ===Venice=== In 1770, he was an apprentice for two years to Giuseppe Bernardi, who was also known as 'Torretto'.
The statues were begun in 1775, and both were completed by 1777.
The statues were begun in 1775, and both were completed by 1777.
Another Venetian who is said to have commissioned early works from Canova was the abate Filippo Farsetti, whose collection at Ca' Farsetti on the Grand Canal he frequented. In 1779, Canova opened his own studio at Calle Del Traghetto at S.
With such an intention, there is suggestion that Daedalus is a portrait of Canova's grandfather Pasino. ===Rome=== Canova arrived in Rome, on 28 December 1780.
Successful in the application, the stipend allotted amounted to three hundred ducats, limited to three years. While in Rome, Canova spent time studying and sketching the works of Michelangelo. In 1781, Girolamo Zulian – the Venetian ambassador to Rome – hired Canova to sculpt Theseus and the Minotaur.
The highly regarded work is now in the collection of the Victoria & Albert Museum, in London. Between 1783 and 1785, Canova arranged, composed, and designed a funerary monument dedicated to Clement XIV for the Church of Santi Apostoli.
The highly regarded work is now in the collection of the Victoria & Albert Museum, in London. Between 1783 and 1785, Canova arranged, composed, and designed a funerary monument dedicated to Clement XIV for the Church of Santi Apostoli.
After another two years, the work met completion in 1787.
Canova harmonized its design with the older Baroque funerary monuments in the basilica. In 1790, he began to work on a funerary monument for Titian, which was eventually abandoned by 1795.
The monument secured Canova's reputation as the pre-eminent living artist. In 1792, he completed another cenotaph, this time commemorating Clement XIII for St.
Canova harmonized its design with the older Baroque funerary monuments in the basilica. In 1790, he began to work on a funerary monument for Titian, which was eventually abandoned by 1795.
It depicts the Greek hero Perseus after his victory over the Gorgon Medusa. The statue was based freely to the Apollo Belvedere and the Medusa Rondanini. Napoleon, after his 1796 Italian Campaign, took the Apollo Belvedere to Paris.
The most notable representations were that of Napoleon as Mars the Peacemaker, and Venus Victrix which was portrayal of Pauline Bonaparte. Napoleon as Mars the Peacemaker had its inception after Canova was hired to make a bust of Napoleon in 1802.
The work was not intended for public viewing. Other works for the Napoleon family include, a bust of Napoleon, a statue of Napoleon's mother, and Marie Louise as Concordia. In 1802, Canova was assigned the post of 'Inspector-General of Antiquities and Fine Art of the Papal State', a position formerly held by Raphael.
It represents the god Cupid in the height of love and tenderness, immediately after awakening the lifeless Psyche with a kiss. ===Napoleon as Mars the Peacemaker (1802–1806)=== Napoleon as Mars the Peacemaker had its inception after Canova was hired to make a bust of Napoleon in 1802.
The statue was begun in 1802, with Napoleon requesting to be shown in a French General's uniform, Canova rejected this, insisting on an allusion to Mars, the Roman god of War.
Among his patrons were Napoleon and his family, for whom Canova produced much work, including several depictions between 1803 and 1809.
The statue was begun in 1803, with Napoleon requesting to be shown in a French General's uniform, Canova rejected this, insisting on an allusion to Mars, the Roman god of War.
It was completed in 1806.
In 1808 Canova became an associated member of the Royal Institute of the Netherlands. In 1814, he began his The Three Graces. In 1815, he was named 'Minister Plenipotentiary of the Pope,' and was tasked with recovering various works of art that were taken to Paris by Napoleon. Also in 1815, he visited London, and met with Benjamin Haydon.
Among his patrons were Napoleon and his family, for whom Canova produced much work, including several depictions between 1803 and 1809.
In 1811, the statue arrived in Paris, but not installed; neither was its bronze copy in the Foro Napoleonico in Milan.
In 1808 Canova became an associated member of the Royal Institute of the Netherlands. In 1814, he began his The Three Graces. In 1815, he was named 'Minister Plenipotentiary of the Pope,' and was tasked with recovering various works of art that were taken to Paris by Napoleon. Also in 1815, he visited London, and met with Benjamin Haydon.
He was rewarded with several marks of distinction: he was appointed President of the Accademia di San Luca, inscribed into the "Golden Book of Roman Nobles" by the Pope's own hands, and given the title of Marquis of Ischia, alongside an annual pension of 3000 crowns. In 1819, he commenced and completed his commissioned work Venus Italica as a replacement for the Venus de' Medici. After his 1814 proposal to build a personified statue of Religion for St.
He had previously visited Canova in his studio in Rome in 1814 and had been immensely impressed by a carving of the Graces the sculptor had made for the Empress Josephine.
Undeterred, the Duke commissioned another version for himself. The sculpting process began in 1814 and was completed in 1817.
In 1815, the original went to the Duke of Wellington, after his victory at Waterloo against Napoleon. Venus Victrix was originally conceived as a robed and recumbent sculpture of Pauline Borghese in the guise of Diana.
In 1808 Canova became an associated member of the Royal Institute of the Netherlands. In 1814, he began his The Three Graces. In 1815, he was named 'Minister Plenipotentiary of the Pope,' and was tasked with recovering various works of art that were taken to Paris by Napoleon. Also in 1815, he visited London, and met with Benjamin Haydon.
In 1815, the original went to the Duke of Wellington, after his victory at Waterloo against Napoleon. ===Perseus Triumphant (1804–1806)=== Perseus Triumphant, sometimes called Perseus with the Head of Medusa, was a statue commissioned by tribune Onorato Duveyriez.
It was after the advice of Canova that the Elgin marbles were acquired by the British Museum, with plaster copies sent to Florence, according to Canova's request. ===Returning to Italy=== In 1816, Canova returned to Rome with some of the art Napoleon had taken.
Undeterred, the Duke commissioned another version for himself. The sculpting process began in 1814 and was completed in 1817.
He was rewarded with several marks of distinction: he was appointed President of the Accademia di San Luca, inscribed into the "Golden Book of Roman Nobles" by the Pope's own hands, and given the title of Marquis of Ischia, alongside an annual pension of 3000 crowns. In 1819, he commenced and completed his commissioned work Venus Italica as a replacement for the Venus de' Medici. After his 1814 proposal to build a personified statue of Religion for St.
On 11 July 1819, Canova laid the foundation stone dressed in red Papal uniform and decorated with all his medals.
Finally in 1819 it was installed at the Duke's residence in Woburn Abbey.
Among these were the group Mars and Venus, the colossal figure of Pius VI, the Pietà, the St John, and a colossal bust of his friend, the Count Cicognara. In 1820, he made a statue of George Washington for the state of North Carolina.
It was delivered on 24 December 1821.
Antonio Canova (; 1 November 1757 – 13 October 1822) was an Italian Neoclassical sculptor, famous for his marble sculptures.
A marble copy was sculpted by Romano Vio in 1970, now on view in the rotunda of the capitol building. In 1822, he journeyed to Naples, to superintend the construction of wax moulds for an equestrian statue of Ferdinand VII.
From there, he voyaged to Venice; however, on 13 October 1822, he died there at the age of 64.
As he never married, the name became extinct, except through his stepbrothers' lineage of Satori-Canova. On 12 October 1822, Canova instructed his brother to use his entire estate to complete the Tempio in Possagno. On 25 October 1822, his body was placed in the Tempio Canoviano.
It first opened in 1830, and was finally completed in 1836.
The statue and the North Carolina State House where it was displayed were later destroyed by fire in 1831.
Other works, including plaster casts are the Museo Canoviano in Asolo. In 2018, a crater on Mercury was named in his honor. ==Literary inspirations== Two of Canova's works appear as engravings in Fisher's Drawing Room Scrap Book, 1834, with poetical illustrations by Letitia Elizabeth Landon.
It first opened in 1830, and was finally completed in 1836.
A plaster replica was sent by the king of Italy in 1910, now on view at the North Carolina Museum of History.
A marble copy was sculpted by Romano Vio in 1970, now on view in the rotunda of the capitol building. In 1822, he journeyed to Naples, to superintend the construction of wax moulds for an equestrian statue of Ferdinand VII.
Other works, including plaster casts are the Museo Canoviano in Asolo. In 2018, a crater on Mercury was named in his honor. ==Literary inspirations== Two of Canova's works appear as engravings in Fisher's Drawing Room Scrap Book, 1834, with poetical illustrations by Letitia Elizabeth Landon.
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