He systematically promoted his reputation by publishing engravings of his works and having marble versions of plaster casts made in his workshop. France and England īy 1800, Canova was the most celebrated artist in Europe. In 1797, he went to Vienna, but only a year later, in 1798, he returned to Possagno for a year. The following decade was extremely productive, beginning works such as Hercules and Lichas, Cupid and Psyche, Hebe, Tomb of Duchess Maria Christina of Saxony-Teschen, and The Penitent Magdalene. 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. Canova was notoriously disinclined to restore sculptures. During the same year, he increased his activity as a painter. In 1790, he began to work on a funerary monument for Titian, which was eventually abandoned by 1795. Canova harmonized its design with the older Baroque funerary monuments in the basilica. In 1792, he completed another cenotaph, this time commemorating Clement XIII for St. The monument secured Canova's reputation as the pre-eminent living artist. After another two years, the work met completion in 1787. īetween 17, Canova arranged, composed, and designed a funerary monument dedicated to Clement XIV for the Church of Santi Apostoli. The highly regarded work is now in the collection of the Victoria & Albert Museum, in London. 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. The statue depicts the victorious Theseus seated on the lifeless body of a Minotaur. Zulian played a fundamental role in Canova's rise to fame, 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. In 1781, Girolamo Zulian – the Venetian ambassador to Rome – hired Canova to sculpt Theseus and the Minotaur. Theseus and the Minotaur, Victoria and Albert Museum, London While in Rome, Canova spent time studying and sketching the works of Michelangelo. Successful in the application, the stipend allotted amounted to three hundred ducats, limited to three years. Prior to his departure, his friends had applied to the Venetian senate for a pension. Rome Ĭanova arrived in Rome, on 28 December 1780. With such an intention, there is suggestion that Daedalus is a portrait of Canova's grandfather Pasino. 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. The statue inspired great admiration for his work at the annual art fair Canova was paid for 100 gold zecchini for the completed work. At this time, Procurator Pietro Vettor Pisani commissioned Canova's first marble statue: a depiction of Daedalus and Icarus. In 1779, Canova opened his own studio at Calle Del Traghetto at S. 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. Widely praised, the works won Canova his first renown among the Venetian elite. On the year of their completion, both works were exhibited for the Feast of the Ascension in Piazza S. The pieces exemplify the late Rococo style. The statues were begun in 1775, and both were completed by 1777. The Senator Giovanni Falier commissioned Canova to produce statues of Orpheus and Eurydice for his garden – the Villa Falier at Asolo. During this time, he was given his first workshop within a monastery by some local monks. Afterwards, he was under the tutelage of Giovanni Ferrari until he began his studies at the Accademia di Belle Arti di Venezia. In 1770, he was an apprentice for two years to Giuseppe Bernardi, who was also known as 'Torretto'. After these works, he appears to have been constantly employed under his grandfather. Indeed, at the age of nine, he executed two small shrines of Carrara marble, which are still extant. He led Antonio into the art of sculpting.īefore the age of ten, Canova began making models in clay, and carving marble. As such, in 1762, he was put into the care of his paternal grandfather Pasino Canova, who was a stonemason, owner of a quarry, and was a "sculptor who specialized in altars with statues and low reliefs in late Baroque style". In 1757, Antonio Canova was born in the Venetian Republic city of Possagno to Pietro Canova, a stonecutter, and Maria Angela Zardo Fantolini. 2.2 Napoleon as Mars the Peacemaker (1802–1806).2.1 Psyche Revived by Cupid's Kiss (1787).
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