Antonio Canova (born November 1, 1757 in Possagno near Bassano del Grappa , † October 13, 1822 in Venice ) was an Italian sculptor . He is considered to be one of the main representatives of Italian classicism .
Since his father, a stonemason, died when Antonio Canova was three years old, he grew up with his grandfather Pasino Canova, on his father's side. At the age of 14 Canova began an apprenticeship with the Venetian sculptor Giuseppe Bernardi, who was named Torretti after his teacher. After the death of his teacher in 1773, Canova first worked with Bernardi's nephew, the sculptor Giovanni Ferrari, also named Torretti after his teacher. Canova went into business for herself in 1775.
The sculptural group commissioned by his sponsor, Senator Giovanni Falier (1710–1808), represents Eurydice and Orpheus (made 1773–1776). It is now in the Museo Correr in Venice. In 1779 Canova moved to Rome , where he lived as a guest of the Venetian ambassador . The successful artist returned to his homeland after the occupation of Rome by French troops in 1798. In 1802 Canova was accepted as an external member of the Académie des Beaux-Arts . As supervisor of the art treasures of the Papal States (from 1802) he was responsible for the repatriation of the works of art stolen by Napoleon in 1815 . Among his students are Franz Pettrich and Peter Kaufmann .
After his death in 1822, Canova was buried in a mausoleum in the church of Santa Maria Gloriosa dei Frari in Venice in 1827 ; his heart was buried separately and is in a porphyry vase in the Academy of Venice.
Canova's lifting device from 1796 was the model for a lifting device by Bertel Thorvaldsen from 1806. Canova's lifting device made a great impression on Johann Gottfried Seume , who saw it on his walk to Syracuse in Venice in 1802 and initially described it as follows:
“Now my soul is full of one single object, Canovas Hebe. I do not know whether you already know this artist's lovable goddess; it will rule me for a long time, maybe always. I almost believe now that the new have reached the old. It is said to be one of the youngest works of man, eternal youth. It is in the Alberici house, and the owner seems to feel the full value of the treasure. He has assigned the goddess one of the best places, a beautiful, bright room facing the great canal. I want, I must not venture a description; but I want to prophesy that she will become the artists adored and their pilgrimage. I have not yet seen the medicin; but judging by all the good casts of her, there is more to me here than any 'veneres cupidinesque'. "
This is followed by this poem entitled Canovas Hebe
I stood there, drunk with a sweet intoxication,
As if sunk in a sea of bliss,
With awe of the goddess,
Who looked down on me sweetly ,
And my soul was in sparks:
There was more enthroned than Amathusia.
I had escaped from mortality,
And my fiery glances sucked
And nectar in the hall of gods from her gaze ;
I did not know what happened to me:
And if Zeus stood close with his lightning
, I would presumptiously reach for the bowl
with which the deity held it,
And now, staggering, perhaps dared
to mock Alciden himself,
And with God for his reward beat.
It is no coincidence that finally in the grounds of the house of George Joachim Goschen in Grimma under the Amicitia- Temple (the Temple of Friendship), a cast of Thorvaldsen'schen in a grotto-like depression lift was installed. After Canova's death, a parish church, the "Tempio Canoviano" , was built in Possagno in the style of the Pantheon in Rome according to the artist's plans by GA Selva and A. Diedo.
As an artist's museum, Canova's birthplace with its paintings and the Gipsotheca Canoviana remained significant in terms of art history.
- 1823: medal, 47 mm. Medalist: Antonio Fabris (1792–1865)
- 1827: medal, 52 mm. Medalist: Antonio Fabris
- 1831: medal, 52 mm. Medalist: Antonio Fabris
- 1823: medal, 50 mm. Medalist: Giuseppe Girometti (1780–1851)
- 1816: medal, 68 mm. Medalist: Salvatore Passamonti. Reverse shows "Hercules and Lica"
- undated medal, 34 mm. Medalist: Francesco Putinati (1775–1848)
- 1775/76: Orpheus , Saint Petersburg , Hermitage
- 1784/92: tomb of Clemens XIII. , St. Peter's Basilica , Rome
- 1793: Amor and Psyche , marble, height 155 cm, Paris, Louvre and Saint Petersburg, Hermitage; based on the story of the same name from the "Metamorphoses" by Apuleius
- 1796/1817: Hebe , marble, height 166 cm, Saint Petersburg, Hermitage and Museum of Forlì
- 1801/05: Tomb for Archduchess Marie Christine von Sachsen-Teschen , marble, Augustinian Church, Vienna
- 1803/09: Napoléon as Mars bringing peace , bronze, height 325 cm
- 1804/07: Letizia Ramolino Bonaparte , marble, height 145 cm
- 1805/08: Paolina Borghese, Venus victrix , (Victorious Venus), Rome, Museo e Galleria Villa Borghese
- 1805/19: Theseus defeats the Centaur , Vienna , Kunsthistorisches Museum , originally in the Theseus temple
- 1809: Repentant Mary Magdalene , Saint Petersburg, Hermitage
- 1809/12: dancer , Berlin , Bode-Museum
- 1812/16: Three Graces , Saint Petersburg, Hermitage and London , Victoria and Albert Museum .
The London Museum acquired this sculpture from a private owner in 1994 for DM 22.65 million .
- 1817: Stele Traversa , Cimitero Monumentale of Milan .
- 1819/21: Tadini stele , Lovere, Tadini Art Academy .
- Canova's works: collection of lithographed outlines after his statues and bas-reliefs . Stuttgart, 1826 ( digitized edition of the University and State Library Düsseldorf )
- The Harvard Art Museums, 32 Quincy Street, Cambridge, MA 02138, USA have a number of plaster plaques that were made in the 19th century based on designs by Antonio Canova.
- 1826 in Nuremberg : "A Venus, ivory, sketch by Canova, in a walnut box."
- Antonio d'Este : Memorie di Antonio Canova. Florence 1804.
- Constantin von Wurzbach : Canova, Anton . In: Biographisches Lexikon des Kaiserthums Oesterreich . 2nd part. Publishing house of the typographic-literary-artistic establishment (L. C. Zamarski, C. Dittmarsch & Comp.), Vienna 1857, pp. 251-268 ( digitized version ).
- Jan Woratschek: Antonio Canova's mythological statues, on the question of visibility. (= Ars faciendi , volume 13). Lang, Frankfurt am Main (inter alia) 2005, ISBN 978-3-631-52709-2 (Dissertation University of Munich 2004, 186 pages).
- Yvonne zu Dohna: Canova and tradition. Lang, Bern 2006, ISBN 3-631-55116-9 ( dissertation State University for Design Karlsruhe 2000).
- Johannes Myssok: The renewal of the classical myths in art around 1800. Imhof, Petersberg 2007, ISBN 978-3-86568-223-9 .
- Christian M. Geyer: The sense of art - Canova's sculptures for Munich. Gebrüder Mann, Berlin 2010, ISBN 978-3-7861-2633-1 .
- Literature by and about Antonio Canova in the catalog of the German National Library
- Antonio Canova at Google Arts & Culture
- Antonio Canova at artfacts.net
- Museo Canova in Possagno (Italian, partly English)
- Canova e la Venere Vincitrice exhibition in the Galleria Borghese, Rome (Italian)
- Antonio Canova: Selection of works in lithographed outlines at goethezeitportal.de
- Oscar Mothes : History of the architecture and sculpture of Venice: Art of the modern age, Volume 2 . Friedrich Vogt, Leipzig 1860, p. 335 ( limited preview in Google Book search).
- Oscar Mothes: History of the architecture and sculpture of Venice: Art of the modern time, Volume 2. Friedrich Vogt, Leipzig 1860, p. 332, 305
- Meyers Großes Konversations-Lexikon, Volume 3, Leipzig 1905, keyword Canova
- Augustinian Church, Vienna
- Guinness Book of Records 2001. P. 58. ( Collectibles 2 )
- Havard Art Museums ( Memento of July 27, 2014 in the Internet Archive ), accessed on July 8, 2014
- Directory of the collection of books, oil paintings, copperplate engravings, water and enamel paintings, ... of the postmaster, who died in Nuremberg, Schustern which ... , Google Books, online, p. 31, item 11.
|BRIEF DESCRIPTION||Italian sculptor of classicism|
|DATE OF BIRTH||November 1, 1757|
|PLACE OF BIRTH||Possagno near Bassano|
|DATE OF DEATH||October 13, 1822|
|Place of death||Venice|