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, in a small town in Treviso, in the foothills of Grappa. At four years old, he lost both parents and was brought up by his grandfather, who had a difficult character. Grandfather was a mason. He understood the calling of his grandson and introduced it to Senator Giovanni Faliero. Under his auspices in 1768 in Venice, Canova Antonio began to carve his first sculptures. Meanwhile, the 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 working on the Orpheus and Eurydice sculpture, which was completed two years later and was adopted 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 set up his own workshop in Venice. In 1779, he sculpted another sculpture - Daedalus and Icarus - and exhibited it in St. Mark's Square. She also gained wide acclaim.
Daedalus and Icarus
One of the first works of Canova, which depicts two figures. This is young, ideally beautiful Icarus and old, with a far flawed body Daedalus. 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. Thus, he gets the necessary balance. The play of light and shadow is also important for the master.
Relocation to Rome
At 22, in 1799, Antonio leaves for Rome and begins to deeply study the work of Greek masters. He also goes to the nude school of the French Academy 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 such that his contemporaries believe that he stands on a par with the best antique sculptors. But it will be a little later, but for now it just fits successfully 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 and Psyche” is a group of two figures. They were made in 1800-1803. The God of love gently contemplates the face of his beloved Psyche, who answers him with no less tenderness. The figures intersect in space in such a way that they form a soft curvy X-line, creating the impression that they soar in space.
This is a very elegant arabesque in which Psyche and Cupid diagonally diverge. The outstretched wings of the god of love balance the position of the bodies. The hands of Psyche, hugging the head of the Cupid, create a center on which all attention is concentrated. Elegant flowing forms of lovers express Antonio's thought of perfect beauty. The original work is kept in the Louvre.
The influence of Greek art
Initially, the work of Antonio did not differ too much from the works of other sculptors. However, while studying Greek sculptures, Canova Antonio came to the conclusion that exaggerated images of passions and gestures should be avoided. Only by controlling oneself, checking harmony with algebra, speaking allegorically, can the sensual in the ideal be conveyed. It will be unlike Rococo art. Antonio gradually created his works. First in wax, then in clay, then in plaster. And only after that he turned to marble. He was a tireless hard worker who did not leave the workshop for 12-14 hours.
Mythological plots
“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 Harit, which existed in Greco-Roman mythology. The three daughters of Zeus - Aglaya, 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 bends of perfect female bodies, the perfection of marble processing lead to the play of light and shadow. The three Harites represent grace, which is understood as harmony of forms, sophistication and grace of poses. The original is in the Hermitage.
Unique style
The sculptor used exclusively white marble, which he modeled with plasticity and grace, sophistication and lightness. His harmonious sculptures, living in stillness, still seem to come alive in movements. Another feature of his talent was that he brought all polishing work to the maximum. Due to this, they have a special shine that focuses on the natural radiant beauty.
"Penitent Magdalene"
This sculpture dates from the period between 1793 and 1796. The original is kept in Genoa. This was the first work of the sculptor, who got to Paris at an exhibition in the Salon in 1808. The young and beautiful Mary Magdalene knelt on a stone. Her body is broken, her head is inclined 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 is wearing a coarse hairline supported by a rope, her hair scattered carelessly over her shoulders. The whole figure is full of sorrow. Clothing and body have a slightly yellowish coating. By this, the sculptor wanted to emphasize the contrast between the sensual charm that comes from the figure and the knowledge of the depth of sin. By invoking divine forgiveness and repentance, the author sought to exalt man.
During the occupation of Italy by Napoleon, many Italian works were exported to France. After the fall of the empire, Canova undertook diplomatic labor to return them to their homeland. The 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 unexpectedly was the biography of Antonio Canova.
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 presented the work and biography of Antonio Canova.