Canova Antonio is the new Phidias

2024 Author: Leah Sherlock | [email protected]. Last modified: 2023-12-17 05:25

Canova Antonio (1757-1822) - Italian painter and sculptor, an outstanding representative of neoclassicism, a singer of perfect beauty. His work and genius made another revolution in art. In the first period of his work, everyone was influenced by the Baroque genius Lorenzo Bernini, but the young Antonio found his way.

Childhood and youth

Canova Antonio was born in Possagno, a small town in Treviso, in the foothills of the Grappa. At the age of four, he lost both parents and was brought up by his grandfather, who had a difficult character. Grandfather was a stonemason. He understood the vocation of his grandson and introduced him to Senator Giovanni Faliero. Under his patronage, in 1768 in Venice, Canova Antonio began to carve his first sculptures. In the meantime, my grandfather sold a small farm, and the proceeds went to ensure that Antonio had the opportunity to study ancient art. In October 1773, commissioned by Faliero Canova, he began work on the sculpture "Orpheus and Eurydice", which was completed two years later and was accepted with great success. He was inspired by ancient Greek art and did not succumb to the influence of the masterpieces of the XVIII century. Young Antonio created hisown workshop in Venice. In 1779, he sculpted another sculpture - "Daedalus and Icarus" - and put it on the Piazza San Marco. It has also received wide recognition.

Daedalus and Icarus

One of the first works of Canova, which depicts two figures. This is a young, perfectly beautiful Icarus and an old Daedalus with a far from flawless body. The reception of the contrast of old age and youth enhances the impression of the composition, in which the sculptor finds a new technique. He will use it in the future: the axis of symmetry is in the center, but Icarus is tilted back, and together with Daedalus they form an X-shaped line. In this way he obtains the necessary balance. The play of light and shadow is also important for the master.

Move to Rome

At the age of 22, in 1799, Antonio leaves for Rome and begins to deeply study the works of the Greek masters. He also goes to the nude school of the Académie française and the Capitoline Museum. He recognizes the main characters of mythological art and ponders his own artistic principles, which will be based on noble simplicity. This will affect his development as an artist. Developing the classical style, Antonio Canova creates sculptures that his contemporaries consider him to be on a par with the best antique sculptors. But it will be a little later, but for now it just successfully fits into the cultural atmosphere of Rome. There he will create his best works - "Cupid and Psyche", "Three Graces" and "Penitent Magdalene", which brought him success and worldwide fame.

Cupid and Psyche

"Cupid andPsyche" is a group of two figures. They were made in 1800-1803. The God of love tenderly contemplates the face of his beloved Psyche, who responds to him with no less tenderness. The shapes intersect in space in such a way that they form a soft, sinuous X-line, giving the impression that they are floating in space.

This is a very elegant arabesque in which Psyche and Cupid diverge diagonally. The outstretched wings of the god of love balance the position of the bodies. The hands of Psyche, embracing the head of Cupid, create a center on which all attention is concentrated. The elegant flowing shapes of the lovers express Antonio's idea of ideal beauty. The original work is kept in the Louvre.

Influence of Greek Art

Initially, Antonio's work did not differ too much from the works of other sculptors. However, while studying Greek sculptures, Canova Antonio came to the conclusion that exaggerated depictions of passions and gestures should be avoided. Only by controlling oneself, verifying harmony with algebra, speaking allegorically, one can convey the sensual in the ideal. It will not look like rococo art. Antonio gradually created his works. First in wax, then in clay, then in plaster. And only after that did he move on to marble. He was a tireless worker who did not leave the workshop for 12-14 hours.

Mythological stories

The Three Graces were created between 1813 and 1816 at the request of Josephine Beauharnais. It is likely that Canova wanted to portray the traditional image of Charit, which existed inGreco-Roman mythology. The three daughters of Zeus - Aglaia, Euphrosyne and Thalia - usually accompany Aphrodite.

Beauty, joy, prosperity are their symbols. Two girls hug the central figure, they are also united by a scarf, which enhances the unity of the figures. It is worth noting the presence of a support column, a kind of altar on which a wreath is placed. As in other works of Canova, the smooth curves of perfect female bodies, the perfection of marble processing lead to a play of light and shadow. The three Charites represent grace, which is understood as the harmony of forms, sophistication and grace of postures. The original is in the Hermitage.

Inimitable style

The sculptor used exclusively white marble, which he modeled with plasticity and grace, refinement and lightness. His harmonious sculptures, living in immobility, still seem to come to life in movements. Another feature of his talent was that he brought all the polishing work to the maximum. This gives them a special sheen that brings out the natural radiant beauty.

Penitent Magdalene

This sculpture dates from between 1793 and 1796. The original is kept in Genoa. It was the first work of the sculptor to come to Paris for an exhibition at the Salon in 1808. Young and beautiful Mary Magdalene fell to her knees on a stone. Her body is broken, her head is tilted to the left, her eyes are filled with tears. In her hands she holds a crucifix, from which she cannot take her eyes off.

She wears a coarse sackcloth supported by a rope, her hair casually scattered over her shoulders. The whole figure is full of sorrow. Clothes and body have a slightly yellowish coating. With this, the sculptor wanted to emphasize the contrast between the sensual charm that comes from the figure and the knowledge of the depths of sin. With the call of divine forgiveness, repentance, the author sought to elevate a person.

During the occupation of Italy by Napoleon, many Italian works were taken to France. After the fall of the empire, Canova undertook the diplomatic task of bringing them back to their homeland. Stolen and illegally exported works of art thanks to his efforts were returned. Pope Pius VII, in gratitude for his patriotism, gave him the title of Marquis of Ischia di Castro. So the biography of Antonio Canova unexpectedly developed.

Canova died on the morning of October 13, 1822. He was buried in a tomb created by himself in his homeland in Possagno. His heart is buried separately.

The reader is briefly introduced to the work and biography of Antonio Canova.