Antonio Canova was an Italian sculptor, who represented Neoclassicism movement. Internationally famous, he was regarded as the most brilliant sculptor in Europe. Canova's monumental statues and bas-reliefs are executed with extreme grace, polish and purity of contour.
Background
Antonio Canova was born on November 1, 1757 in Possagno, Republic of Venice (present-day Possagno, Veneto, Italy). His father, Pietro Canova, was a stonecutter. After his father's death in 1761 and almost immediate remarriage of his mother, Antonio was grown up by his paternal grandfather, Pasino Canova, who was a stonemason, owner of a quarry and a sculptor. It was he, who introduced a young boy to the art of sculpting.
Education
In his early years, Antonio attracted the attention of members of the patrician Falier family and, with their help, moved to Venice, where he studied sculpture in the studio of Giuseppe Bernardi. There, Canova also learned to work in a rococo naturalistic style, that he quickly abandoned after his permanent move to Rome in 1780.
After studies with Giuseppe Bernardi, Canova was under the tutelage of Giovanni Ferrari. Later, he entered Accademia di Belle Arti di Venezia, where he won several prizes.
By 1774, Antonio Canova had established his own studio in Venice, where he produced portrait busts and other sculptures for the Venetian nobility. In 1779, the sculptor left Venice to travel and to study in southern Italy. During the following two years, he worked in Rome and visited Herculaneum and Pompeii, ancient Roman cities, which had been excavated in the middle of the eighteenth century. By 1780, the year he took up permanent residence in Rome, Canova was thoroughly committed artistically to the neoclassic style, which was sweeping all the arts.
In Rome, the center of artistic innovation and birthplace of neoclassicism, Canova was supported by a pension from the Venetian senate and lodged with the Serene Republic's ambassador, Girolamo Zulian, to the Holy See. It was a commission from Zulian, entitled "Theseus and the Dead Minotaur" (1781–1783), that initially established Canova's reputation as a neoclassical sculptor of great promise. The success of the Zulian statue earned him the commission for the tomb of Pope Clement XIV Ganganelli (1783–1787) for the Roman basilica of the Holy Apostles and a second funerary monument to the Venetian Pope Clement XIII Rezzonico for Saint Peter's (1787–1792). Papal tombs, the most prestigious commissions possible for sculptors, were erected in public spaces and listed in guidebooks, facts, that helped to promote Canova's reputation far beyond Rome.
The French invasion of the Papal States in 1796 and the collapse of the pontifical government of Pius VI in 1798 sent Antonio home to the Austrian-ruled Veneto, where he lived in exile as an opponent of the French puppet Roman Republic. Later, he journeyed to Vienna to help gain support for the deposed pope and received the commission for his most important tomb, the moving "Monument to the Archduchess Maria Christina of Austria", erected in the church of the Augustinians in Vienna in 1805. His Austrian contacts led to additional commissions, including "Theseus Struggling with the Centaur" (1804–1819).
Despite wars and political upheaval, Canova was able to maintain a flourishing professional practice after 1800, because he refused to allow politics to determine his patrons. During the hegemony of Napoleon from 1800 to 1814, he often worked for members of the Bonaparte family, executing statues for Napoleon himself ("Napoleon as Mars the Peacemaker"), for Bonaparte's mother Letizia ("Madame Mère as Agrippina"), and for the emperor's sister Pauline ("Pauline Borghese as Venus Victrix") and for others. Moreover, as a conservative Catholic and Venetian patriot, Canova was essentially francophobic, as the French had destroyed the political independence of Venice. The question of cynicism in working for the Bonapartes is still a matter of scholarly debate.
The sculptor's admiration for Napoleon's first wife, Joséphine, and his delight in working for her, however, are beyond dispute. She was an Old Regime aristocrat, who wished only to have the best specimens of Canova's chisel for her gallery at the château de Malmaison. Canova found her highly sympathetic and executed several works for her, such as "Hebe", 'Dancer", "Paris" and "The Three Graces". The Malmaison gallery briefly formed the finest private collection of Canova's sculpture in existence and featured the graceful, elegant mythological figures, that were the artist's specialty. These statues passed into the Russian imperial collections after Joséphine's death in 1814 and are still exhibited in the Hermitage in Saint Petersburg.
Elegant, graceful, coyly erotic and smooth-surfaced marble statues of mythological and literary figures were also extremely popular among Canova's British patrons, who formed the majority of the sculptor's clients, especially after 1814 Antonio executed "Psyche" for Henry Blundell, the second version of "The Three Graces" for John Russell, sixth duke of Bedford, and 'Mars and Venus" for the Prince Regent George, who also commissioned "Monument to the Last Stuarts" for Saint Peter's.
While in London in 1815, Canova testified before the parliamentary committee in favor of the acquisition of the Elgin Marbles from the Parthenon in Athens. British assistance to Canova while he was in Paris in 1815 to oversee the repatriation from the former Musée Napoléon of stolen works of art was crucial to Italy's recovery of a highly significant part of its cultural patrimony.
Canova's last years were spent in executing commissions for various British patrons and in the construction and decoration of a parish church in Possagno, which still stands as a monument to his Catholic piety, fame, and neoclassical aesthetic.
In 1808, Canova became an associated member of the Royal Netherlands Academy of Arts and Sciences.
Royal Netherlands Academy of Arts and Sciences
,
Netherlands
1808
Connections
Antonio was never married.
Father:
Pietro Canova
Grandfather:
Pasino Canova
mentor:
Giuseppe Bernardi
mentor:
Giovanni Ferrari
References
Canova
This book traces the life and career of the nineteenth-century Italian artist, shows a variety of his sculptures and discusses the reasons for his changing reputation as an artist.
Antonio Canova
This art book contains more than fifty neoclassical reproductions of mythical and religious sculptures with title, date and interesting facts.