Antonio Canova Wiki Eng

8/10/2019 Antonio Canova Wiki Eng

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Antonio Canova(Italian pronunciation:[antnjo kanva];1 November 175713 October 1822) was an

Italiansculptorfrom theRepublic of Venicewho became famous for hismarble sculpturesthat

delicately renderednudeflesh. The epitome of theneoclassicalstyle, his work marked a return

toclassicalrefinement after the theatrical excesses ofBaroque sculpture.Among Canova's English

pupils were sculptors SirRichard WestmacottandJohn Gibson.

Contents

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1 Early life in Possagno and Venice

2 Career in Rome

3 Trips to France and England

4 Last projects 5 Notable works

6 Gallery

7 References, notes and sources

8 External links

Early life in Possagno and Venice[edit]

Antonio Canova was born inPossagno,a village of theRepublic of Venicesituated amid the recesses

of the hills ofAsolo,where these form the last undulations of theVenetian Alps,as they subside into

the plains ofTreviso.At three years of age Canova was deprived of both parents, his father dying and

his mother remarrying. Their loss, however, was compensated by the tender solicitude and care of his

paternal grandfather and grandmother, the latter of whom lived to experience in her turn the kindest

personal attention from her grandson, who, when he had the means, gave her an asylum in his house

at Rome.

The Museo Canovianolocated in Possagno nearAsolo

His father and grandfather followed the occupation of stone-cutters or minor statuaries; and it is said

that their family had for several ages supplied Possagno with members of that calling. As soon as

Canova's hand could hold a pencil, he was initiated into the principles of drawing by his grandfather
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Pasino. The latter possessed some knowledge both of drawing and of architecture, designed well, and

showed considerable taste in the execution of ornamental works. He was greatly attached to his art;

and upon his young charge he looked as one who was to perpetuate, not only the family name, but

also the family profession.

The early years of Canova were passed in study. The bias of his mind was to sculpture, and the

facilities afforded for the gratification of this predilection in the workshop of his grandfather were

eagerly improved. In his ninth year he executed two small shrines ofCarrara marble,which are still

extant. Soon after this period he appears to have been constantly employed under his grandfather.

Amongst those who patronized the old man was the patrician familyFalierofVenice,and by this

means young Canova was first introduced to the senator of that name, who afterwards became his

most zealous patron.

Between the younger son, Giuseppe Falier, and the artist a friendship commenced which terminatedonly with life. The senator Falier was induced to receive him under his immediate protection. It has

been related by an Italian writer and since repeated by several biographers, that Canova was indebted

to a trivial circumstancethe moulding of a lion in butterfor the warm interest which Falier took in

his welfare. The anecdote may or may not be true. By his patron Canova was placed under Bernardi,

or, as he is generally called by filiation,Giuseppe Torretto,a sculptor of considerable eminence, who

had taken up a temporary residence at Pagnano, one ofAsolo's boroughs in the vicinity of the

senator's mansion.

This took place whilst Canova was in his thirteenth year; and with Torretto he continued about twoyears, making in many respects considerable progress. This master returned to Venice, where he

soon afterwards died; but by the high terms in which he spoke of his pupil to Falier, the latter was

induced to bring the young artist to Venice, whither he accordingly went, and was placed under a

nephew of Torretto. With this instructor he continued about a year, studying with the utmost assiduity.

After the termination of this engagement he began to work on his own account, and received from his

patron an order for a group,Orpheus and Eurydice.The first figure, which represents Eurydice in

flames and smoke, in the act of leavingHades,was completed towards the close of his sixteenth year.

It was highly esteemed by his patron and friends, and the artist was now considered qualified to

appear before a public tribunal.
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Psyche Revived by Cupid's Kiss,in theLouvre,Paris

The kindness of some monks supplied him with his first workshop, which was the vacant cell of a

monastery. Here for nearly four years he labored with the greatest perseverance and industry. He was

also regular in his attendance at the academy, where he carried off several prizes. But he relied far

more on the study and imitation of nature. A large portion of his time was also devoted to anatomy,

which science was regarded by him as the secret of the art. He likewise frequented places of public

amusement, where he carefully studied the expressions and attitudes of the performers. He formed a

resolution, which was faithfully adhered to for several years, never to close his eyes at night without

having produced some design. Whatever was likely to forward his advancement in sculpture he

studied with ardour. On archaeological pursuits he bestowed considerable attention. With ancient and

modern history he rendered himself well acquainted and he also began to acquire some of the

continental languages.

Three years had now elapsed without any production coming from his chisel. He began, however, to

complete the group for his patron, and theOrpheuswhich followed, evinced the great advance he had

made. The work was universally applauded, and laid the foundation of his fame. Several groups

succeeded this performance, among which was that ofDaedalusandIcarus,the most celebrated work

of his noviciate. The terseness of style and the faithful imitation of nature which characterized them

called forth the warmest admiration. His merits and reputation being now generally recognized, his

thoughts began to turn from the shores of theAdriaticto the banks of theTiber,for which he set out at

the commencement of his twenty-fourth year.

Career in Rome[edit]

Before his departure for Rome, his friends had applied to the Venetian senate for a pension, to enable

him to pursue his studies without embarrassment. The application was ultimately successful. The

stipend amounted to three hundred ducats (about 60 pounds per annum), and was limited to three

years. Canova had obtained letters of introduction to the Venetian ambassador, the Cavaliere Zulian,

and enlightened and generous protector of the arts, and was received in the most hospitable manner.
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Theseus and the Minotaur,V&A,London

His arrival in Rome, on 28 December 1780,[1]

marks a new era in his life. It was here he was to perfect

himself by a study of the most splendid relics of antiquity, and to put his talents to the severest test by

a competition with the living masters of the art. The result was equal to the highest hopes cherished

either by himself or by his friends. The work which first established his fame at Rome

wasTheseusVanquishing theMinotaur,now in the collections of theVictoria & Albert Museum,in

London. The figures are of the heroic size. The victorious Theseus is represented as seated on the

lifeless body of the monster. The exhaustion which visibly pervades his whole frame proves the terrible

nature of the conflict in which he has been engaged. Simplicity and natural expression had hitherto

characterized Canova's style; with these were now united more exalted conceptions of grandeur and

of truth. The Theseus was regarded with fervent admiration.

Canova's next undertaking was a monument in honor ofClement XIV;but before he proceeded with it

he deemed it necessary to request permission from the Venetian senate, whose servant he

considered himself to be, in consideration of the pension. This he solicited, in person, and it was

granted. He returned immediately to Rome, and opened his celebrated studio close to the Via del

Babuino. He spent about two years of unremitting toil in arranging the design and composing the

models for the tomb of the pontiff. After these were completed, other two years were employed in

finishing the monument, and it was finally opened to public inspection in 1787. The work, in the

opinion of enthusiastic dilettanti, stamped the author as the first artist of modern times.
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The Three Graces,Hermitage

After five years of incessant labor, he completed anothercenotaph,to the memory ofClement XIII,

which raised his fame still higher. Works now came rapidly from his chisel. Amongst these isPsyche,

with a butterfly, which is placed on the left hand, and held by the wings with the right. This figure,

which is intended as a personification of man's immaterial part, is considered as in almost every

respect the most faultless and classical of Canova's works. In two different groups, and with opposite

expression, the sculptor has representedCupidwith his bride; in the one they are standing, in the

other recumbent. These and other works raised his reputation so high that the most flattering offers

were sent to him from the Russian court to induce him to remove toSt Petersburg,but these were

declined, although many of his finest works made their way to theHermitage Museum."Italy", says he,

in writing of the occurrence to a friend, "Italy is my countryis the country and native soil of the arts. I

cannot leave her; my infancy was nurtured here. If my poor talents can be useful in any other land,

they must be of some utility to Italy; and ought not her claim to be preferred to all others?"

Numerous works were produced in the years 17951797, of which several were repetitions of previous

productions. One was the celebrated group representing the Parting of Venus and Adonis.This

famous production was sent toNaples.TheFrench Revolutionwas now extending its shocks over

Italy; and Canova sought obscurity and repose in his native Possagno. Thither he retired in 1798, and

there he continued for about a year, principally employed in painting, of which art also he had some

knowledge. Events in the political world having come to a temporary lull, he returned to Rome; but his

health being impaired from arduous application, he took a journey through a part of Germany, in

company with his friend Prince Rezzonico. He returned from his travels much improved, and again

commenced his labors with vigour and enthusiasm.

Trips to France and England[edit]
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Canova in 1817 byGeorge Hayter(British Embassy, Paris)

The events which marked the life of the artist during the first fifteen years of the period in which he was

engaged on the above-mentioned works scarcely merit notice. His mind was entirely absorbed in the

labors of his studio, and, with the exception of his journeys to Paris, one toVienna,and a few short

intervals of absence inFlorenceand other parts of Italy, he never quit Rome. In his own words, "his

statues were the sole proofs of his civil existence."

There was, however, another proof, which modesty forbade him to mention, an ever-active

benevolence, especially towards artists. In 1815 he was commissioned by the Pope to superintend the

transmission from Paris of those works of art which had formerly been conveyed thither under the

direction ofNapoleon.By his zeal and exertionsfor there were many conflicting interests to reconcile

he adjusted the affair in a manner at once creditable to his judgment and fortunate for his country.

In the autumn of this year he gratified a wish he had long entertained of visiting London, where he

received the highest tokens of esteem. The artist for whom he showed particular sympathy and regard

in London wasBenjamin Haydon,who might at the time be counted the sole representative of

historical painting there, and whom he especially honored for his championship of the then recently

transported to England and ignorantly depreciated by polite connoisseurs Parthenon's marbles. As a

matter of fact, theElgin marbles- after an advice by Canova - were acquired by the British Museum,

while plaster copies were sent to Florence, Italy, according to Canova's request.

Canova returned to Rome in the beginning of 1816, with the ransomed spoils of his country's genius.

Immediately after, he received several marks of distinction: he was made President of the Accademia

di San Luca, the main artistic institution in Rome, and by the hand of the Pope himself his name was
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inscribed in "the Golden Volume of the Capitol", and he received the title of Marquis ofIschia,with an

annual pension of 3000 crowns.

Last projects[edit]

Monument to Canova in theBasilica di Santa Maria Gloriosa dei Frari,designed by Canova as amausoleumfor the

painterTitian

He now contemplated a great work, a colossal statue of Religion. The model filled Italy with

admiration; the marble was procured, and the chisel of the sculptor ready to be applied to it, when the

jealousy of churchmen as to the site, or some other cause, deprived the country of the projected work.

The mind of Canova was inspired with the warmest sense of devotion, and though foiled in this

instance he resolved to consecrate a shrine to the cause. In his native village he began to make

preparations for erecting a temple which was to contain, not only the above statue, but other works of

his own; within its precincts were to repose also the ashes of the founder. Accordingly he repaired to

Possagno in 1819. After the foundation-stone of this edifice had been laid, Canova returned to Rome;

but every succeeding autumn he continued to visit Possagno, in order to direct the workmen, and

encourage them with pecuniary rewards and medals.

In the meantime the vast expenditure exhausted his resources, and compelled him to labor with

unceasing assiduity notwithstanding age and disease. During the period which intervened between

commencing operations at Possagno and his death, he executed or finished some of his most striking

works. Amongst these were the group Mars and Venus, the colossal figure ofPius VI,thePiet,the St

John, the recumbentMagdalen.The last performance which issued from his hand was a colossal bust

of his friend, the Count Cicognara.
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In May 1822 he paid a visit to Naples, to superintend the construction of wax moulds for an equestrian

statue of the perjured Bourbon kingFerdinand VII.This journey materially injured his health, but he

rallied again on his return to Rome. Towards the latter end of the year he paid his annual visit to the

place of his birth, when he experienced a relapse. He proceeded to Venice, and expired there at the

age of nearly sixty-five. His disease was one which had affected him from an early age, caused by the

continual use of carving-tools, producing a depression of the ribs. The most distinguished funeral

honors were paid to his remains, which were deposited in the temple at Possagno on 25 October

1822. His heart was interred in a marble pyramid he designed as amausoleumfor the painterTitianin

the church ofSanta Maria Gloriosa dei Frariin Venice, now a monument to the sculptor.

Notable works[edit]

Perseus with the Head of Medusa (Vatican)

Among Canova's heroic compositions, hisPerseus with the Head of Medusa(photo, right) appeared

soon after his return from Germany. The moment of representation is when the hero, flushed with

conquest, displays the head of the "snaky Gorgon", whilst the right hand grasps a sword of singular

device. By a public decree, this fine work was placed in one of the stanze of theVaticanhitherto

reserved for the most precious works of antiquity.
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Napoleonby Antonio Canova,Apsley House, London

In 1802, at the personal request ofNapoleon,Canova returned to Paris to model a bust of the first

consul. The artist was entertained with munificence, and various honors were conferred upon him. The

statue (photo, left), which is colossal and entitledNapoleon as Mars the Peacemaker,was not finished

till four years after. On the fall of the great emperor,Louis XVIIIpresented this statue to the British

government, by whom it was afterwards given to theDuke of Wellington.It is now in Apsley House,

Hyde Park corner, London.

"Washington" on display at theNorth Carolina Museum of History

Palamedes,Creugas and Damoxenus,the Combat of Theseus and the Centaur,and Hercules and

Lichasmay close the class of heroic compositions, although the catalogue might be swelled by the

enumeration of various others, such as Hector and Ajax,King Ferdinand of Naples, and others.

Canova's marble statueGeorge Washington(photo, right) was commissioned by the State ofNorthCarolinaafter the war of 1812 to be displayed in itsCapitol Building.The work was finished 9 years
http://en.wikipedia.org/wiki/Apsley_Househttp://en.wikipedia.org/wiki/Apsley_Househttp://en.wikipedia.org/wiki/Apsley_Househttp://en.wikipedia.org/wiki/Napoleon_I_of_Francehttp://en.wikipedia.org/wiki/Napoleon_I_of_Francehttp://en.wikipedia.org/wiki/Napoleon_I_of_Francehttp://en.wikipedia.org/wiki/Napoleon_as_Mars_the_Peacemakerhttp://en.wikipedia.org/wiki/Napoleon_as_Mars_the_Peacemakerhttp://en.wikipedia.org/wiki/Napoleon_as_Mars_the_Peacemakerhttp://en.wikipedia.org/wiki/Louis_XVIIIhttp://en.wikipedia.org/wiki/Louis_XVIIIhttp://en.wikipedia.org/wiki/Louis_XVIIIhttp://en.wikipedia.org/wiki/Arthur_Wellesley,_1st_Duke_of_Wellingtonhttp://en.wikipedia.org/wiki/Arthur_Wellesley,_1st_Duke_of_Wellingtonhttp://en.wikipedia.org/wiki/Arthur_Wellesley,_1st_Duke_of_Wellingtonhttp://en.wikipedia.org/wiki/North_Carolina_Museum_of_Historyhttp://en.wikipedia.org/wiki/North_Carolina_Museum_of_Historyhttp://en.wikipedia.org/wiki/North_Carolina_Museum_of_Historyhttp://en.wikipedia.org/wiki/George_Washingtonhttp://en.wikipedia.org/wiki/George_Washingtonhttp://en.wikipedia.org/wiki/George_Washingtonhttp://en.wikipedia.org/wiki/North_Carolinahttp://en.wikipedia.org/wiki/North_Carolinahttp://en.wikipedia.org/wiki/North_Carolinahttp://en.wikipedia.org/wiki/North_Carolinahttp://en.wikipedia.org/wiki/North_Carolina_State_Capitolhttp://en.wikipedia.org/wiki/North_Carolina_State_Capitolhttp://en.wikipedia.org/wiki/North_Carolina_State_Capitolhttp://en.wikipedia.org/wiki/File:Canova-Washington.JPGhttp://en.wikipedia.org/wiki/File:Canova-Washington.JPGhttp://en.wikipedia.org/wiki/File:Apsley_House_-_Napoleon's_statue.JPGhttp://en.wikipedia.org/wiki/File:Apsley_House_-_Napoleon's_statue.JPGhttp://en.wikipedia.org/wiki/File:Canova-Washington.JPGhttp://en.wikipedia.org/wiki/File:Canova-Washington.JPGhttp://en.wikipedia.org/wiki/File:Apsley_House_-_Napoleon's_statue.JPGhttp://en.wikipedia.org/wiki/File:Apsley_House_-_Napoleon's_statue.JPGhttp://en.wikipedia.org/wiki/File:Canova-Washington.JPGhttp://en.wikipedia.org/wiki/File:Canova-Washington.JPGhttp://en.wikipedia.org/wiki/File:Apsley_House_-_Napoleon's_statue.JPGhttp://en.wikipedia.org/wiki/File:Apsley_House_-_Napoleon's_statue.JPGhttp://en.wikipedia.org/wiki/File:Canova-Washington.JPGhttp://en.wikipedia.org/wiki/File:Canova-Washington.JPGhttp://en.wikipedia.org/wiki/File:Apsley_House_-_Napoleon's_statue.JPGhttp://en.wikipedia.org/wiki/File:Apsley_House_-_Napoleon's_statue.JPGhttp://en.wikipedia.org/wiki/North_Carolina_State_Capitolhttp://en.wikipedia.org/wiki/North_Carolinahttp://en.wikipedia.org/wiki/North_Carolinahttp://en.wikipedia.org/wiki/George_Washingtonhttp://en.wikipedia.org/wiki/North_Carolina_Museum_of_Historyhttp://en.wikipedia.org/wiki/Arthur_Wellesley,_1st_Duke_of_Wellingtonhttp://en.wikipedia.org/wiki/Louis_XVIIIhttp://en.wikipedia.org/wiki/Napoleon_as_Mars_the_Peacemakerhttp://en.wikipedia.org/wiki/Napoleon_I_of_Francehttp://en.wikipedia.org/wiki/Apsley_House


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later and transported via warship, steamship, and finally mule train before being dedicated on

Christmas Eve.

Under the head of compositions of grace and elegance, the statue of Hebetakes the first place in

point of date. Four times has the artist embodied in stone the goddess of youth, and each time withsome variation. The last one is in the Museum ofForl,inItaly.The only material improvement,

however, is the substitution of a support more suitable to the simplicity of the art. Each of the statues is

elegant in expression,attitude,and delicacy of finish.

The Dancing Nymphsmaintain a character similar to that of the Hebe.The Three Gracesand

the Venusare more elevated. TheAwakened Nymphis another notable work. The mother of

Napoleon, his consort Maria Louise (as Concord), to model whom the author made a further journey to

Paris in 1810, the princess Esterhazy and the muse Polymnia (Elisa Bonaparte)take their place in this

class, as do the ideal heads, comprising Corinna, Sappho, Laura, BeatriceandHelen of Troy.

Of the cenotaphs and funeral monuments the most splendid is the monument to the archduchess

Maria Christina, Duchess of Teschen, consisting of nine figures. Besides the two for theRoman

Pontiffsalready mentioned, there is one forAlfieri,another for Emo, a Venetian admiral, and a small

model of a cenotaph forHoratio Nelson,besides a great variety of monumental relieves such as the

Stele Tadini in the Chapel of theAccademia TadiniinLovere.George Anthony Legh Keckwas known

to have collected some of Antonio Canovas sculptures and had them on display at his jacobean

mansion house ofBank Hallin Bretherton. After the death of Legh Keck in 1860 the sculptures where

auctioned off, their whereabouts is unknown.

Gallery[edit]

Tomb of Clement XIII.

Tomb of Clement XIV.
http://en.wikipedia.org/wiki/Forl%C3%AChttp://en.wikipedia.org/wiki/Forl%C3%AChttp://en.wikipedia.org/wiki/Forl%C3%AChttp://en.wikipedia.org/wiki/Italyhttp://en.wikipedia.org/wiki/Italyhttp://en.wikipedia.org/wiki/Italyhttp://en.wikipedia.org/wiki/Attitude_(art)http://en.wikipedia.org/wiki/Attitude_(art)http://en.wikipedia.org/wiki/Attitude_(art)http://en.wikipedia.org/wiki/The_Three_Graces_(sculpture)http://en.wikipedia.org/wiki/The_Three_Graces_(sculpture)http://en.wikipedia.org/wiki/The_Three_Graces_(sculpture)http://en.wikipedia.org/wiki/Elisa_Bonapartehttp://en.wikipedia.org/wiki/Elisa_Bonapartehttp://en.wikipedia.org/wiki/Elisa_Bonapartehttp://en.wikipedia.org/wiki/Roman_Pontiffhttp://en.wikipedia.org/wiki/Roman_Pontiffhttp://en.wikipedia.org/wiki/Roman_Pontiffhttp://en.wikipedia.org/wiki/Roman_Pontiffhttp://en.wikipedia.org/wiki/Alfierihttp://en.wikipedia.org/wiki/Alfierihttp://en.wikipedia.org/wiki/Alfierihttp://en.wikipedia.org/wiki/Horatio_Nelsonhttp://en.wikipedia.org/wiki/Horatio_Nelsonhttp://en.wikipedia.org/wiki/Horatio_Nelsonhttp://en.wikipedia.org/w/index.php?title=Accademia_Tadini&action=edit&redlink=1http://en.wikipedia.org/w/index.php?title=Accademia_Tadini&action=edit&redlink=1http://en.wikipedia.org/w/index.php?title=Accademia_Tadini&action=edit&redlink=1http://en.wikipedia.org/wiki/Loverehttp://en.wikipedia.org/wiki/Loverehttp://en.wikipedia.org/wiki/Loverehttp://en.wikipedia.org/wiki/George_Anthony_Legh_Keckhttp://en.wikipedia.org/wiki/George_Anthony_Legh_Keckhttp://en.wikipedia.org/wiki/George_Anthony_Legh_Keckhttp://en.wikipedia.org/wiki/Bank_Hallhttp://en.wikipedia.org/wiki/Bank_Hallhttp://en.wikipedia.org/wiki/Bank_Hallhttp://en.wikipedia.org/w/index.php?title=Antonio_Canova&action=edit&section=6http://en.wikipedia.org/w/index.php?title=Antonio_Canova&action=edit&section=6http://en.wikipedia.org/w/index.php?title=Antonio_Canova&action=edit&section=6http://en.wikipedia.org/wiki/File:Tomb_of_Pope_Clement_XIV_Gregorovius.jpghttp://en.wikipedia.org/wiki/File:Tomb_of_Pope_Clement_XIII_Gregorovius.jpghttp://en.wikipedia.org/wiki/File:Tomb_of_Pope_Clement_XIV_Gregorovius.jpghttp://en.wikipedia.org/wiki/File:Tomb_of_Pope_Clement_XIII_Gregorovius.jpghttp://en.wikipedia.org/w/index.php?title=Antonio_Canova&action=edit&section=6http://en.wikipedia.org/wiki/Bank_Hallhttp://en.wikipedia.org/wiki/George_Anthony_Legh_Keckhttp://en.wikipedia.org/wiki/Loverehttp://en.wikipedia.org/w/index.php?title=Accademia_Tadini&action=edit&redlink=1http://en.wikipedia.org/wiki/Horatio_Nelsonhttp://en.wikipedia.org/wiki/Alfierihttp://en.wikipedia.org/wiki/Roman_Pontiffhttp://en.wikipedia.org/wiki/Roman_Pontiffhttp://en.wikipedia.org/wiki/Elisa_Bonapartehttp://en.wikipedia.org/wiki/The_Three_Graces_(sculpture)http://en.wikipedia.org/wiki/Attitude_(art)http://en.wikipedia.org/wiki/Italyhttp://en.wikipedia.org/wiki/Forl%C3%AC


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Monument to Pius VI.

Theseus Fighting the Centaur (18041819),Kunsthistorisches Museum,Vienna.[2]

Pair of portrait busts by Canova, circa 1815.

Pauline BonaparteasVenus Victrix,now at theGalleria Borghese

Cenotaph toMaria Christina of Austriain theAugustinerkirche,by Canova.

References, notes and sources[edit]
http://en.wikipedia.org/wiki/Kunsthistorisches_Museumhttp://en.wikipedia.org/wiki/Kunsthistorisches_Museumhttp://en.wikipedia.org/wiki/Kunsthistorisches_Museumhttp://en.wikipedia.org/wiki/Antonio_Canova#cite_note-2http://en.wikipedia.org/wiki/Antonio_Canova#cite_note-2http://en.wikipedia.org/wiki/Antonio_Canova#cite_note-2http://en.wikipedia.org/wiki/Pauline_Bonapartehttp://en.wikipedia.org/wiki/Pauline_Bonapartehttp://en.wikipedia.org/wiki/Venus_Victrix_(Canova)http://en.wikipedia.org/wiki/Venus_Victrix_(Canova)http://en.wikipedia.org/wiki/Venus_Victrix_(Canova)http://en.wikipedia.org/wiki/Galleria_Borghesehttp://en.wikipedia.org/wiki/Galleria_Borghesehttp://en.wikipedia.org/wiki/Maria_Christina,_Duchess_of_Teschenhttp://en.wikipedia.org/wiki/Maria_Christina,_Duchess_of_Teschenhttp://en.wikipedia.org/wiki/Maria_Christina,_Duchess_of_Teschenhttp://en.wikipedia.org/wiki/Augustinerkirchehttp://en.wikipedia.org/wiki/Augustinerkirchehttp://en.wikipedia.org/wiki/Augustinerkirchehttp://en.wikipedia.org/w/index.php?title=Antonio_Canova&action=edit&section=7http://en.wikipedia.org/w/index.php?title=Antonio_Canova&action=edit&section=7http://en.wikipedia.org/w/index.php?title=Antonio_Canova&action=edit&section=7http://en.wikipedia.org/wiki/File:Frith,_Francis_(1822-1898)_-_n._2340_-_Tomb_of_Marie_Christine_by_Canova_-_Vienna.jpghttp://en.wikipedia.org/wiki/File:VenusVictrix.jpghttp://en.wikipedia.org/wiki/File:Jerome_&_Henrietta_busts.jpghttp://en.wikipedia.org/wiki/File:Theseus_and_Centaur.jpghttp://en.wikipedia.org/wiki/File:Tomb_Monument_of_Pius_VI_Gregorovius.jpghttp://en.wikipedia.org/wiki/File:Frith,_Francis_(1822-1898)_-_n._2340_-_Tomb_of_Marie_Christine_by_Canova_-_Vienna.jpghttp://en.wikipedia.org/wiki/File:VenusVictrix.jpghttp://en.wikipedia.org/wiki/File:Jerome_&_Henrietta_busts.jpghttp://en.wikipedia.org/wiki/File:Theseus_and_Centaur.jpghttp://en.wikipedia.org/wiki/File:Tomb_Monument_of_Pius_VI_Gregorovius.jpghttp://en.wikipedia.org/wiki/File:Frith,_Francis_(1822-1898)_-_n._2340_-_Tomb_of_Marie_Christine_by_Canova_-_Vienna.jpghttp://en.wikipedia.org/wiki/File:VenusVictrix.jpghttp://en.wikipedia.org/wiki/File:Jerome_&_Henrietta_busts.jpghttp://en.wikipedia.org/wiki/File:Theseus_and_Centaur.jpghttp://en.wikipedia.org/wiki/File:Tomb_Monument_of_Pius_VI_Gregorovius.jpghttp://en.wikipedia.org/wiki/File:Frith,_Francis_(1822-1898)_-_n._2340_-_Tomb_of_Marie_Christine_by_Canova_-_Vienna.jpghttp://en.wikipedia.org/wiki/File:VenusVictrix.jpghttp://en.wikipedia.org/wiki/File:Jerome_&_Henrietta_busts.jpghttp://en.wikipedia.org/wiki/File:Theseus_and_Centaur.jpghttp://en.wikipedia.org/wiki/File:Tomb_Monument_of_Pius_VI_Gregorovius.jpghttp://en.wikipedia.org/wiki/File:Frith,_Francis_(1822-1898)_-_n._2340_-_Tomb_of_Marie_Christine_by_Canova_-_Vienna.jpghttp://en.wikipedia.org/wiki/File:VenusVictrix.jpghttp://en.wikipedia.org/wiki/File:Jerome_&_Henrietta_busts.jpghttp://en.wikipedia.org/wiki/File:Theseus_and_Centaur.jpghttp://en.wikipedia.org/wiki/File:Tomb_Monument_of_Pius_VI_Gregorovius.jpghttp://en.wikipedia.org/w/index.php?title=Antonio_Canova&action=edit&section=7http://en.wikipedia.org/wiki/Augustinerkirchehttp://en.wikipedia.org/wiki/Maria_Christina,_Duchess_of_Teschenhttp://en.wikipedia.org/wiki/Galleria_Borghesehttp://en.wikipedia.org/wiki/Venus_Victrix_(Canova)http://en.wikipedia.org/wiki/Pauline_Bonapartehttp://en.wikipedia.org/wiki/Antonio_Canova#cite_note-2http://en.wikipedia.org/wiki/Kunsthistorisches_Museum


12/13

References

1. Jump up^Catholic Encyclopedia."Antonio Canova".Catholic Encyclopedia. Retrieved 24 March 2013.

2. Jump up^Napoleon ordered it for the Corso in Milan; Emperor Franz I bought it for the Theseus

Temple in the Volksgarten in Vienna; moved to Kunsthistorisches Museum in 1891.

Sources

This article incorporates text from a publication now in thepublic domain:Chisholm, Hugh, ed.

(1911).Encyclopdia Britannica(11th ed.). Cambridge University Press

zu Dohna, Yvonne (2006). Canova und die Tradition. Bern: Lang.

Lauren Keach Lessing (2006). Presiding Divinities: Ideal Sculpture in Nineteenth-Century

American Domestic Interiors. PhD dissertation: Indiana University.

Johannes Myssok,Antonio Canova. Die Erneuerung der klassischen Mythen in der Kunst um

1800(Petersberg: Michael Imhof Verlag 2007).

Christian M. Geyer:Der Sinn fr Kunst - die Skulpturen Canovas fr Mnchen.Gebr. Mann, Berlin

2010,ISBN 978-3-7861-2633-1.

External links[edit]

Wikimedia Commons has

media related toAntonio

Canova.

Canova's Three Graces(second version)in theVictoria and Albert Museum,London (2000). One

of threeFlickrphotos by ketrin 1407.

Canova's Perseus and Medusain theMetropolitan Museum of Art,New York (2009). Part

ofFlickrset by ketrin1407.

Antonio Canova: Photo Gallery

Canova's death mask at Princeton

Canova museum and plaster cast gallery

Canova 2009 Exhibition in Forl, Italy

Authority control

WorldCat

VIAF:36965536

LCCN: n79008257

ISNI:0000 0001 2100 6717

GND: 118518860

SUDOC:027627926

BNF: cb122039438(data)

ULAN:500115339
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