Italian Neoclassical sculptor (1757?1822)
Antonio Canova
(
Italian pronunciation:
[an?t?ːnjo
ka?n?ːva]
; 1 November 1757 ? 13 October 1822) was an
Italian
Neoclassical sculptor
,
[2]
[3]
famous for his
marble sculptures
. Often regarded as the greatest of the Neoclassical artists,
[4]
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.
[5]
Life
[
edit
]
Possagno
[
edit
]
In 1757, Antonio Canova was born in the
Venetian Republic
city of
Possagno
to Pietro Canova, a stonecutter, and Maria Angela Zardo Fantolini.
[6]
In 1761, his father died. A year later, his mother remarried. As such, in 1762, he was put into the care of his paternal grandfather Pasino Canova, who was a
stonemason
, owner of a
quarry
,
[5]
and was a "sculptor who specialized in altars with statues and low reliefs in late Baroque style".
[6]
He led Antonio into the art of sculpting.
Before the age of ten, Canova began making models in clay, and carving marble.
[7]
Indeed, at the age of nine, he executed two small shrines of
Carrara marble
, which are still extant.
[8]
After these works, he appears to have been constantly employed under his grandfather.
[8]
Venice
[
edit
]
In 1770,
[6]
he was an apprentice for two years
[7]
to
Giuseppe Bernardi
, who was also known as 'Torretto'. Afterwards, he was under the tutelage of
Giovanni Ferrari
until he began his studies at the
Accademia di Belle Arti di Venezia
.
[6]
At the Academy, he won several prizes.
[8]
During this time, he was given his first workshop within a monastery by some local monks.
[7]
The Senator Giovanni Falier commissioned Canova to produce statues of
Orpheus
and
Eurydice
for his garden ? the Villa Falier at
Asolo
.
[9]
The statues were begun in 1775, and both were completed by 1777. The pieces exemplify the late
Rococo style
.
[9]
[10]
On the year of their completion, both works were exhibited for the
Feast of the Ascension
in
Piazza San Marco
.
[5]
Widely praised, the works won Canova his first renown among the Venetian elite.
[6]
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. Maurizio,.
[5]
At this time,
Procurator
Pietro Vettor Pisani commissioned Canova's first marble statue: a depiction of
Daedalus
and
Icarus
.
[5]
The statue inspired great admiration for his work at the annual art fair;
[11]
Canova was paid 100
gold zecchini
for the completed work.
[5]
At the base of the statue, Daedalus' tools are scattered about; these tools are also an allusion to Sculpture, of which the statue is a personification.
[12]
With such an intention, there is suggestion that Daedalus is a portrait of Canova's grandfather Pasino.
[11]
Rome
[
edit
]
Canova arrived in
Rome
, on 28 December 1780. Prior to his departure, his friends had applied to the
Venetian Senate
for a pension. Successful in the application, the stipend allotted amounted to three hundred ducats, limited to three years.
[8]
While in Rome, Canova spent time studying and sketching the works of
Michelangelo
.
[6]
In 1781,
Girolamo Zulian
? the Venetian ambassador to Rome ? hired Canova to sculpt
Theseus and the Minotaur
.
[13]
Zulian played a fundamental role in Canova's rise to fame,
[14]
[15]
turning some rooms of his palace into a studio for the artist and placing his trust in him despite Canova's early critics in Rome.
[15]
The statue depicts the victorious
Theseus
seated on the lifeless body of a
Minotaur
. The initial spectators were certain that the work was a copy of a Greek original, and were shocked to learn it was a contemporary work.
[16]
The highly regarded work is now in the collection of the
Victoria & Albert Museum
, in London.
[13]
Between 1783 and 1785, Canova arranged, composed, and designed a funerary monument dedicated to
Clement XIV
for the
Church of Santi Apostoli
.
[7]
After another two years, the work met completion in 1787. The monument secured Canova's reputation as the pre-eminent living artist.
[8]
In 1792, he completed another cenotaph, this time commemorating
Clement XIII
for
St. Peter's Basilica
. Canova harmonized its design with the older Baroque funerary monuments in the basilica.
[17]
In 1790, he began to work on a funerary monument for
Titian
, which was eventually abandoned by 1795.
[6]
During the same year, he increased his activity as a painter.
[5]
Canova was notoriously disinclined
[14]
to restore sculptures. However, in 1794 he made an exception for his friend and early patron Zulian, restoring a few sculptures that Zulian had moved from Rome to Venice.
[14]
The following decade was extremely productive,
[8]
beginning works such as
Hercules and Lichas
,
Cupid and Psyche
,
Hebe
,
Tomb of
Duchess Maria Christina of Saxony-Teschen
, and
The Penitent Magdalene
.
[18]
In 1797, he went to
Vienna
,
[19]
but only a year later, in 1798, he returned to
Possagno
for a year.
[8]
[note 1]
France and England
[
edit
]
By 1800, Canova was the most celebrated artist in Europe.
[6]
He systematically promoted his reputation by publishing engravings of his works and having marble versions of plaster casts made in his workshop.
[20]
He became so successful that he had acquired patrons from across Europe including
France
,
England
,
Russia
,
Austria
and
Holland
, as well as several members from different royal lineages, and prominent individuals.
[5]
Among his patrons were
Napoleon
and his family, for whom Canova produced much work, including several depictions between 1803 and 1809.
[4]
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 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
.
[21]
It was completed in 1806.
[22]
In 1811, the statue arrived in Paris, but not installed; neither was its bronze copy in the Foro Napoleonico in Milan.
[21]
In 1815, the original went to
the Duke of Wellington
, after his victory at
Waterloo
against Napoleon.
[22]
If one could make statues by caressing marble, I would say that this statue was formed by wearing out the marble that surrounded it with caresses and kiss
Venus Victrix
was originally conceived as a robed and recumbent sculpture of
Pauline Borghese
in the guise of
Diana
. Instead, Pauline ordered Canova to make the statue a nude Venus.
[23]
The work was not intended for public viewing.
[23]
Other works for the Napoleon family include, a bust of Napoleon, a statue of Napoleon's mother, and
Marie Louise
as
Concordia
.
[7]
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
.
[5]
One of his activities in this capacity was to pioneer the restoration of the
Appian Way
by restoring the tomb of Servilius Quartus.
[24]
In 1808 Canova became an associated member of the
Royal Institute of Sciences, Literature and Fine Arts
of the
Kingdom of Holland
.
[25]
In 1814, he began his
The Three Graces
.
[7]
In 1815, he was named 'Minister Plenipotentiary of the Pope,'
[5]
and was tasked with recovering various works of art that were taken to Paris by
Napoleon
under the terms of the
Treaty of Paris (1815)
.
[8]
The works of Phidias are truly flesh and blood, like beautiful nature itself
Also in 1815, he visited
London
, and met with
Benjamin Haydon
. 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.
[8]
Returning to Italy
[
edit
]
In 1816, Canova returned to Rome with some of the art Napoleon had taken. 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,
[7]
and given the title of Marquis of
Ischia
, alongside an annual pension of 3,000 crowns.
[8]
In 1819, he commenced and completed his commissioned work
Venus Italica
as a replacement for the
Venus de' Medici
.
[26]
After his 1814 proposal to build a personified statue of Religion for
St. Peter's Basilica
was rejected, Canova sought to build his own temple to house it.
[6]
This project came to be the
Tempio Canoviano
. Canova designed, financed, and partly built the structure himself.
[5]
The structure was to be a testament to Canova's piety.
[20]
The building's design was inspired by combining the
Parthenon
and the
Pantheon
together.
[5]
[7]
On 11 July 1819, Canova laid the foundation stone dressed in red Papal uniform and decorated with all his medals.
[20]
It first opened in 1830, and was finally completed in 1836.
[20]
After the foundation-stone of this edifice had been laid, Canova returned to Rome; but every succeeding autumn he continued to visit Possagno to direct the workmen and encourage them with rewards.
[8]
During the period that intervened between commencing operations at Possagno and his death, he executed or finished some of his most striking works. Among these were the group
Mars and Venus
, the colossal figure of
Pius VI
, the
Pieta
, the
St John
, and a colossal bust of his friend, the Count
Leopoldo Cicognara
.
[8]
In 1820, he made a
statue of George Washington
for the state of
North Carolina
.
[19]
As recommended by
Thomas Jefferson
, the sculptor used the
marble bust of Washington
by
Giuseppe Ceracchi
as a model.
[27]
It was delivered on 24 December 1821. The statue and the
North Carolina State House
where it was displayed were later destroyed by fire in 1831. A plaster replica was sent by King
Victor Emmanuel III 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
.
[27]
[28]
In 1822, he journeyed to Naples, to superintend the construction of wax moulds for an equestrian statue of
Ferdinand VII
. The adventure was disastrous to his health, but soon became healthy enough to return to Rome. From there, he voyaged to Venice; however, on 13 October 1822, he died there at the age of 64.
[8]
As he never married, the name became extinct, except through his stepbrothers' lineage of Satori-Canova.
[7]
On 12 October 1822, Canova instructed his brother to use his entire estate to complete the Tempio in Possagno.
[20]
On 25 October 1822, his body was placed in the Tempio Canoviano.
[8]
His heart was interred at the
Basilica di Santa Maria Gloriosa dei Frari
in Venice, and his right hand preserved in a vase at the
Accademia di Belle Arti di Venezia
.
[6]
[20]
His memorial service was so grand that it rivaled the ceremony that the city of Florence held for Michelangelo in 1564.
[20]
In 1826, Giovanni Battista
Sartori
sold Canova's Roman studio and took every plaster model and sculpture to Possagno, where they were installed in the
gypsotheque
of the
Tempio Canoviano
.
[20]
Works
[
edit
]
Among Canova's most notable works are:
[
citation needed
]
Psyche Revived by Cupid's Kiss
(1787)
[
edit
]
Psyche Revived by Cupid's Kiss
was commissioned in 1787 by
Colonel John Campbell
.
[29]
It is regarded as a masterpiece of Neoclassical sculpture, but shows the mythological lovers at a moment of great emotion, characteristic of the emerging movement of
Romanticism
. 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)
[
edit
]
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
.
[21]
It was completed in 1806.
[22]
In 1811, the statue arrived in Paris, but not installed; neither was its bronze copy in the Foro Napoleonico in Milan.
[21]
In 1815, the original went to
the Duke of Wellington
, after his victory at
Waterloo
against Napoleon
[22]
and is on display at
Apsley House
.
Perseus Triumphant
(1804?1806)
[
edit
]
Perseus Triumphant
, sometimes called
Perseus with the Head of Medusa
, was a statue commissioned by tribune Onorato Duveyriez.
[30]
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
.
[31]
Napoleon
, after his
1796 Italian Campaign
, took the
Apollo Belvedere
to Paris. In the statue's absence,
Pope Pius VII
acquired Canova's
Perseus Triumphant
and placed the work upon the
Apollo'
s pedestal.
[32]
The statue was so successful that when the
Apollo
was returned,
Perseus
remained as a companion piece.
[33]
One replica of the statue was commissioned from Canova by the Polish countess
Waleria Tarnowska
; it's now displayed in the
Metropolitan Museum of Art
in
New York City
.
[31]
[34]
Karl Ludwig Fernow
said of the statue that "every eye must rest with pleasure on the beautiful surface, even when the mind finds its hopes of high and pure enjoyment disappointed."
[35]
Venus Victrix
(1805?1808)
[
edit
]
Venus Victrix
ranks among the most famous of Canova's works. Originally, Canova wished the depiction to be of a robed
Diana
, but
Pauline Borghese
insisted to appear as a nude Venus.
[23]
The work was not intended for public viewing.
[23]
The Three Graces
(1814?1817)
[
edit
]
John Russell
, the 6th Duke of Bedford, commissioned a version of the now famous work.
[36]
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
. When the Empress died in May of the same year he immediately offered to purchase the completed piece, but was unsuccessful as Josephine's son
Eugene de Beauharnais
claimed it (his son
Maximilian, Duke of Leuchtenberg
brought it to
St. Petersburg
, where it can now be found in the
Hermitage Museum
). Undeterred, the Duke commissioned another version for himself.
The sculpting process began in 1814 and was completed in 1817. Finally in 1819 it was installed at the Duke's residence in
Woburn Abbey
. Canova even made the trip over to England to supervise its installation, choosing for it to be displayed on a
pedestal
adapted from a marble
plinth
with a rotating top. This version is now owned jointly by the
Victoria and Albert Museum
and the
National Galleries of Scotland
, and is alternately displayed at each.
Artistic process
[
edit
]
Canova had a distinct, signature style in which he combined Greek and Roman art practices with early stirrings of romanticism to delve into a new path of
Neoclassicism
.
[37]
Canova's sculptures fall into three categories: Heroic compositions, compositions of grace, and sepulchral monuments.
[8]
In each of these, Canova's underlying artistic motivations were to challenge, if not compete, with classical statues.
[5]
Canova refused to take in pupils and students,
[6]
but would hire workers to carve the initial figure from the marble. According to art historian Giuseppe Pavanello, "Canova's system of work concentrated on the initial idea, and on the final carving of the marble".
[6]
He had an elaborate system of comparative pointing so that the workers were able to reproduce the plaster form in the selected block of marble.
[35]
These workers would leave a thin veil over the entire statue so Canova's could focus on the surface of the statue.
[35]
While he worked, he had people read to him select literary and historical texts.
[6]
Last touch
[
edit
]
The polish throws upon the parts which are lighted so great brilliancy as frequently to make invisible the most laborious diligence; it cannot be seen, because the strong reflected light dazzles the eyes
?
Johann Joachim Winckelmann
[35]
During the last quarter of the eighteenth century, it became fashionable to view art galleries at night by torchlight. Canova was an artist that leapt on the fad and displayed his works of art in his studio by candlelight.
[20]
As such, Canova would begin to finalize the statue with special tools by candlelight,
[6]
to soften the transitions between the various parts of the nude.
[35]
After a little recarving, he began to rub the statue down with pumice stone, sometimes for periods longer than weeks or months.
[35]
If that was not enough, he would use
tripoli (rottenstone)
and
lead
.
[35]
He then applied a now unknown chemical-composition of
patina
onto the flesh of the figure to lighten the skin tone.
[6]
Importantly, his friends also denied any usage of acids in his process.
[7]
Criticisms
[
edit
]
Conversations revolving around the justification of art as superfluous usually invoked the name of Canova.
[20]
Karl Ludwig Fernow
believed that Canova was not
Kantian
enough in his aesthetic, because
emphasis seemed to have been placed on agreeableness rather than Beauty
.
[35]
Canova was faulted for creating works that were artificial in complexity.
[5]
Legacy
[
edit
]
Although the
Romantic period
artists buried Canova's name soon after he died, he is slowly being rediscovered.
[6]
Giuseppe Pavanello wrote in 1996 that "the importance and value of Canova's art is now recognized as holding in balance the last echo of the Ancients and the first symptom of the restless experimentation of the modern age".
[6]
Canova spent large parts of his fortune helping young students and sending patrons to struggling sculptors,
[19]
including Sir
Richard Westmacott
and
John Gibson
.
[38]
[39]
He was introduced into various orders of
chivalry
.
[7]
A number of his works, sketches, and writings are collected in the
Sala Canoviana
of the
Museo Civico of Bassano del Grappa
. Other works, including plaster casts are the Museo Canoviano in Asolo.
In 2018, a
crater
on
Mercury
was named in his honor.
[40]
Literary inspirations
[
edit
]
Wikisource
has original text related to this article:
Wikisource
has original text related to this article:
Two of Canova's works appear as engravings in
Fisher's Drawing Room Scrap Book
, 1834, with poetical illustrations by
Letitia Elizabeth Landon
. These are of
The Dancing Girl
[41]
and
Hebe
.
[42]
Commemorations
[
edit
]
Gallery
[
edit
]
-
Antonio Canova from the studio of Canova, c. 1813
-
-
-
Antonio Canova, Detail of
Venus Italica
, 1804?1812, Galleria Palatina, Florence
-
Theseus Fighting the Centaur
(1804?1819),
Kunsthistorisches Museum
, Vienna
[note 2]
-
-
The Three Graces
, 1814?1817, Hermitage
-
-
Terpsichore
Lyran
(Muse of Lyric Poetry)
-
Perseus Triumphant
, Vatican
-
The Penitent Magdalene
,
Palazzo Doria-Tursi
,
Genoa
-
-
-
-
Monument to Pius VI
-
Tomb of Clement XIII
-
-
-
-
Monument to Canova in the
Basilica di Santa Maria Gloriosa dei Frari
, designed by Canova as a
mausoleum
for the painter
Titian
-
Antonio Canova medal by Putinati
-
Antonio Canova's funeral mask,
Museo Correr
Notes
[
edit
]
- ^
The Glory of Venice: Art in the Eighteenth Century
states (p. 441) that Canova left Venice when it fell, tried to escape to America and then went to Possagno. The fall of Venice was in 1797. There appears to be some gap in knowledge that would correct or amend these accounts. The first reference to Vienna is an online source, the second is the
Encyclopædia Britannica, 1911
which has already proven itself incorrect in some areas.
The Glory of Venice
has proven itself more accurate, but it is undated, leaving speculation of time frame.
- ^
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.
References
[
edit
]
- ^
The fall of Venice occurred in 1797 but was then ceded later to Austria.
Encyclopedia Britannica - Venice
. Accessed 14 May 2018.
- ^
Irwin, David,
"Antonio Canova, marchese d'Ischia | Italian sculptor"
,
Britannica.com
, retrieved
1 April
2017
- ^
"Canova, Antonio nell'Enciclopedia Treccani"
, Treccani.it
, retrieved
1 April
2017
- ^
a
b
Turner 1996a
.
- ^
a
b
c
d
e
f
g
h
i
j
k
l
m
n
o
Jean Martineau & Andrew Robinson,
The Glory of Venice: Art in the Eighteenth Century.
Yale University Press, 1994. Print.
- ^
a
b
c
d
e
f
g
h
i
j
k
l
m
n
o
p
q
r
Turner 1996b
.
- ^
a
b
c
d
e
f
g
h
i
j
k
Handley 1908
.
- ^
a
b
c
d
e
f
g
h
i
j
k
l
m
n
o
Rossetti 1911
, pp. 204?206.
- ^
a
b
"Eurydice by CANOVA, Antonio"
.
wga.hu
.
- ^
"Orpheus by CANOVA, Antonio"
.
wga.hu
.
- ^
a
b
"Daedalus and Icarus by CANOVA, Antonio"
.
wga.hu
.
- ^
"Daedalus and Icarus by CANOVA, Antonio"
.
wga.hu
.
- ^
a
b
"Theseus and the Minotaur by CANOVA, Antonio"
.
wga.hu
.
- ^
a
b
c
La storia del Palazzo di Venezia dalle collezioni Barbo e Grimani a sede dell'ambasciata veneta e austriaca
. Rome, Italy:
Gangemi
. 2015. p.
60?61
.
ISBN
9788849293661
.
- ^
a
b
Dandolo, Girolamo (1855).
La caduta della repubblica di Venezia
.
University of Oxford
. p.
208?211
.
ISBN
9781841717913
.
- ^
"Antonio Canova: Neoclassical Sculptor, Biography"
.
visual-arts-cork.com
.
- ^
"Tomb of Pope Clement XIII by CANOVA, Antonio"
.
wga.hu
.
- ^
"Sculptures until 1799"
.
wga.hu
.
- ^
a
b
c
"Biography of CANOVA, Antonio in the Web Gallery of Art"
.
wga.hu
.
- ^
a
b
c
d
e
f
g
h
i
j
Oskar Batschmann, The Artist in the Modern World: A Conflict Between Market and Self-Expression. DuMont Bunchverlag, 1997. Print.
- ^
a
b
c
d
"Napoleon as Mars the Peacemaker by CANOVA, Antonio"
.
wga.hu
.
- ^
a
b
c
d
"Napoleon as Mars the Peacemaker by CANOVA, Antonio"
.
wga.hu
.
- ^
a
b
c
d
"Paolina Borghese as Venus Victrix by CANOVA, Antonio"
.
wga.hu
.
- ^
Paris, Rita, "Appia, una questione non risolta" in "La via Appia, il bianco e il nero di un patrimonio italiano." Electa. 2011
- ^
"A. Canova (1757?1822)"
. Royal Netherlands Academy of Arts and Sciences
. Retrieved
5 October
2016
.
- ^
"Venus Italica by CANOVA, Antonio"
.
wga.hu
.
- ^
a
b
"George Washington Sculpture, North Carolina State Capitol, Raleigh"
.
University of North Carolina
. 19 March 2010.
- ^
"The Canova Statue"
.
North Carolina State University
.
- ^
Johns, C.M.S. (1998)
Antonio Canova and the Politics of Patronage in Revolutionary and Napoleonic Europe
. Berkeley, CA:
University of California Press
, p. 149.
- ^
"Perseus Triumphant"
.
vatican.va
.
- ^
a
b
"Antonio Canova: Perseus with the Head of Medusa (67.110.1) ? Heilbrunn Timeline of Art History ? The Metropolitan Museum of Art"
.
metmuseum.org
.
- ^
Christopher M. S. Johns,
Antonia Canova and the Politics of Patronage in Revolutionary and Napoleonic Europe
. University of California Press, 1998. Web. ? p. 25
- ^
"Perseus with the Head of Medusa by CANOVA, Antonio"
.
wga.hu
.
- ^
"Perseus with the Head of Medusa by CANOVA, Antonio"
.
wga.hu
.
- ^
a
b
c
d
e
f
g
h
Satish Padiyar, Chains: David, Canova, and the Fall of the Public Hero in Postrevolutionary France. Pennsylvania State University Press, 2007.
- ^
The Three Graces.
Victoria & Albert Museum, 2013. Retrieved 2 May 2013.
- ^
Leshko J, Davis J (2000).
The Smith College Museum of Art: European and American Painting and Sculpture, 1760-1960
. United States: Hudson Hill Press. p. 22.
ISBN
9781555951948
.
- ^
Sicca, Cinzia; Yarrington, Alison (2001).
The Lustrous Trade: Material Culture and the History of Sculpture in England and Italy, c. 1700?c. 1860
. A&C Black. p. 9.
ISBN
9781441185907
.
- ^
"John Gibson R. A."
www.gibson-trail.uk
. Archived from
the original
on 24 March 2022
. Retrieved
8 June
2017
.
- ^
"Canova"
.
Gazetteer of Planetary Nomenclature
.
NASA
. Retrieved
23 May
2021
.
- ^
Landon, Letitia Elizabeth (1833). "picture".
Fisher's Drawing Room Scrap Book, 1834
. Fisher, Son & Co.
Landon, Letitia Elizabeth (1833). "poetical illustration".
Fisher's Drawing Room Scrap Book, 1834
. Fisher, Son & Co.
- ^
Landon, Letitia Elizabeth (1833). "poetical illustration".
Fisher's Drawing Room Scrap Book, 1834
. Fisher, Son & Co.
Landon, Letitia Elizabeth (1833). "picture".
Fisher's Drawing Room Scrap Book, 1834
. Fisher, Son & Co.
Sources
[
edit
]
- Handley, Marie Louise Adelaide (1908),
"Antonio Canova"
, in Herbermann, Charles (ed.),
Catholic Encyclopedia
, vol. 3, New York: Robert Appleton Company
-
This article incorporates text from a publication now in the
public domain
:
Rossetti, William Michael
(1911), "
Canova, Antonio
", in
Chisholm, Hugh
(ed.),
Encyclopædia Britannica
, vol. 5 (11th ed.), Cambridge University Press, pp. 204?206
- Turner, Jane, ed. (1996a), "Neo-Classical",
The Dictionary of Art,
Vol. XXII
, New York: Grove's Dictionaries
.
- Turner, Jane, ed. (1996b), "Antonio Canova",
The Dictionary of Art,
Vol. XXII
, New York: Grove's Dictionaries
.
External links
[
edit
]
- Rossetti, William Michael
(1878),
"Antonio Canova"
,
Encyclopædia Britannica
, vol. 5 (9th ed.), pp. 24?26
- Canova's
Three Graces
(second version)
in the
Victoria and Albert Museum
, London (2000). One of three
Flickr
photos by ketrin 1407.
- Canova's
Perseus and Medusa
in the
Metropolitan Museum of Art
, New York (2009). Part of
Flickr
set by ketrin1407.
- Europe in the age of enlightenment and revolution
, a catalog from The Metropolitan Museum of Art Libraries (fully available online as PDF), which contains material on Canova (see index)
- Antonio Canova: Photo Gallery
- Canova's death mask at Princeton
- Canova museum and plaster cast gallery
- Canova 2009 Exhibition in Forli, Italy
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