Self-portrait by Canova, 1792.
Antonio Canova (November 1, 1757 - October 13, 1822) was an Italian
sculptor who became famous for his marble sculptures
that delicately rendered nude flesh. The epitome of the neoclassical sculptor, his work marked a return to classical
refinement after the theatrical excesses of Baroque art.
Early life in Possagno and Venice
Antonio Canova was born in Possagno, a village in the Veneto
situated amid the recesses of the hills of Asolo, where these form the last undulations of the
Venetian Alps, as they subside into the plains of Treviso. At
three years of age Canova was deprived of both parents, his father dying and his mother remarrying. Their loss, however, was
compensated by the tender solicitude and care of his paternal grandfather and grandmother, the latter of whom lived to experience
in her turn the kindest personal attention from her grandson, who, when he had the means, gave her an asylum in his house at
Rome.
The
Museo Canoviano located in Possagno near
Asolo
His father and grandfather followed the occupation of stone-cutters or minor statuaries; and it is said that their family had
for several ages supplied Possagno with members of that calling. As soon as Canova's hand could hold a pencil, he was initiated
into the principles of drawing by his grandfather Pasino. The latter possessed some knowledge both of drawing and of
architecture, designed well, and showed considerable taste in the execution of ornamental works. He was greatly attached to his
art; and upon his young charge he looked as one who was to perpetuate, not only the family name, but also the family
profession.
The early years of Canova were passed in study. The bias of his mind was to sculpture, and the facilities afforded for the
gratification of this predilection in the workshop of his grandfather were eagerly improved. In his ninth year he executed two
small shrines of Carrara marble, which are still extant. Soon after this period he appears to
have been constantly employed under his grandfather. Amongst those who patronized the old man was the patrician family
Falier of Venice, and by this means young Canova was first
introduced to the senator of that name, who afterwards became his most zealous patron.
Between the younger son, Giuseppe Falier, and the artist a friendship commenced which terminated only with life. The senator
Falier was induced to receive him under his immediate protection. It has been related by an Italian writer and since repeated by
several biographers, that Canova was indebted to a trivial circumstance - the moulding of a lion in butter - for the warm
interest which Falier took in his welfare. The anecdote may or may not be true. By his patron Canova was placed under Bernardi,
or, as he is generally called by filiation, Giuseppe Torretto, a sculptor of considerable
eminence, who had taken up a temporary residence at Pagnano, one of Asolo's boroughs in the
vicinity of the senator's mansion.
This took place whilst Canova was in his thirteenth year; and with Torretto he continued about two years, making in many
respects considerable progress. This master returned to Venice, where he soon afterwards died; but by the high terms in which he
spoke of his pupil to Falier, the latter was induced to bring the young artist to Venice, whither he accordingly went, and was
placed under a nephew of Torretto. With this instructor he continued about a year, studying with the utmost assiduity.
After the termination of this engagement he began to work on his own account, and received from his patron an order for a
group, Orpheus and Eurydice. The first figure, which represents Eurydice in
flames and smoke, in the act of leaving Hades, was completed towards the close of his sixteenth
year. It was highly esteemed by his patron and friends, and the artist was now considered qualified to appear before a public
tribunal.
The kindness of some monks supplied him with his first workshop, which was the vacant cell of a monastery. Here for nearly
four years he labored with the greatest perseverance and industry. He was also regular in his attendance at the academy, where he
carried off several prizes. But he relied far more on the study and imitation of nature. A large portion of his time was also
devoted to anatomy, which science was regarded by him as the secret of the art. He likewise frequented places of public
amusement, where he carefully studied the expressions and attitudes of the performers. He formed a resolution, which was
faithfully adhered to for several years, never to close his eyes at night without having produced some design. Whatever was
likely to forward his advancement in sculpture he studied with ardour. On archaeological pursuits he bestowed considerable
attention. With ancient and modern history he rendered himself well acquainted and he also began to acquire some of the
continental languages.
Three years had now elapsed without any production coming from his chisel. He began, however, to complete the group for his
patron, and the Orpheus which followed evinced the great advance he had made. The work
was universally applauded, and laid the foundation of his fame. Several groups succeeded this performance, amongst which was that
of Daedalus and Icarus, the most
celebrated work of his noviciate. The terseness of style and the faithful imitation of nature which characterized them called
forth the warmest admiration. His merits and reputation being now generally recognized, his thoughts began to turn from the
shores of the Adriatic to the banks of the Tiber, for which
he set out at the commencement of his twenty-fourth year.
Career in Rome
Before his departure for Rome, his friends had applied to the Venetian senate for a pension, to enable him to pursue his
studies without embarrassment. The application was ultimately successful. The stipend amounted to three hundred ducats (about 60
pounds per annum), and was limited to three years. Canova had obtained letters of introduction to the Venetian ambassador, the
Cavaliere Zulian, and enlightened and generous protector of the arts, and was received in the most hospitable manner.
His arrival in Rome, on 28 December, 1780, marks a new era
in his life. It was here he was to perfect himself by a study of the most splendid relics of antiquity, and to put his talents to
the severest test by a competition with the living masters of the art. The result was equal to the highest hopes cherished either
by himself or by his friends. The work which first established his fame at Rome was Theseus
Vanquishing the Minotaur, now in the collections of the Victoria & Albert Museum, in London. The
figures are of the heroic size. The victorious Theseus is represented as seated on the lifeless body of the monster. The
exhaustion which visibly pervades his whole frame proves the terrible nature of the conflict in which he has been engaged.
Simplicity and natural expression had hitherto characterized Canova's style; with these were now united more exalted conceptions
of grandeur and of truth. The Theseus was regarded with fervent admiration.
Canova's next undertaking was a monument in honor of Clement XIV; but before he
proceeded with it he deemed it necessary to request permission from the Venetian senate, whose servant he considered himself to
be, in consideration of the pension. This he solicited, in person, and it was granted. He returned immediately to Rome, and
opened his celebrated studio close to the Via del Babuino. He spent about two years of unremitting toil in arranging the design
and composing the models for the tomb of the pontiff. After these were completed, other two years were employed in finishing the
monument, and it was finally opened to public inspection in 1787. The work, in the opinion of enthusiastic dilettanti,
stamped the author as the first artist of modern times.
After five years of incessant labor, he completed another cenotaph, to the memory of
Clement XIII, which raised his fame still higher. Works now came rapidly from his
chisel. Amongst these is Psyche, with a butterfly, which is placed on the left
hand, and held by the wings with the right. This figure, which is intended as a personification of man's immaterial part, is
considered as in almost every respect the most faultless and classical of Canova's works. In two different groups, and with
opposite expression, the sculptor has represented Cupid with his bride; in the one they are
standing, in the other recumbent. These and other works raised his reputation so high that the most flattering offers were sent
to him from the Russian court to induce him to remove to St Petersburg, but these were
declined, although many of his finest works made their way to the Hermitage Museum.
"Italy", says he, in writing of the occurrence to a friend, "Italy is my country - is the country and native soil of the arts. I
cannot leave her; my infancy was nurtured here. If my poor talents can be useful in any other land, they must be of some utility
to Italy; and ought not her claim to be preferred to all others?"
Numerous works were produced in the years 1795-1797, of which several were repetitions of previous productions. One was the
celebrated group representing the Parting of Venus and Adonis. This famous production was sent to Naples. The French Revolution was now extending its shocks over Italy;
and Canova sought obscurity and repose in his native Possagno. Thither he retired in 1798, and there he continued for about a
year, principally employed in painting, of which art also he had some knowledge. Events in the political world having come to a
temporary lull, he returned to Rome; but his health being impaired from arduous application, he took a journey through a part of
Germany, in company with his friend Prince Rezzonico. He returned from his travels much
improved, and again commenced his labors with vigour and enthusiasm.
Trips to France and England
The events which marked the life of the artist during the first fifteen years of the period in which he was engaged on the
above-mentioned works scarcely merit notice. His mind was entirely absorbed in the labors of his studio, and, with the exception
of his journeys to Paris, one to Vienna, and a few
short intervals of absence in Florence and other parts of Italy, he never quitted Rome. In his
own words, "his statues were the sole proofs of his civil existence."
Canova in 1817 by George Hayter (British Embassy, Paris)
There was, however, another proof, which modesty forbade him to mention, an ever-active benevolence, especially towards
artists. In 1815 he was commissioned by the Pope to superintend the transmission from Paris of those works of art which had
formerly been conveyed thither under the direction of Napoleon. By his zeal and
exertions - for there were many conflicting interests to reconcile - he adjusted the affair in a manner at once creditable to his
judgment and fortunate for his country.
In the autumn of this year he gratified a wish he had long entertained of visiting London, where he received the highest tokens of esteem. The artist for whom he showed particular
sympathy and regard in London was Benjamin Haydon, who might at the time be counted the
sole representative of historical painting there, and whom he especially honored for his championship of the Elgin marbles, then recently transported to England, and ignorantly depreciated by polite connoisseurs.
Among Canova's English pupils were sculptors Sir Richard
Westmacott and John Gibson.
Canova returned to Rome in the beginning of 1816, with the ransomed spoils of his country's genius. Immediately after, he
received several marks of distinction: he was made President of the Accademia di San Luca, the main artistic institution in Rome,
and by the hand of the Pope himself his name was inscribed in "the Golden Volume of the Capitol", and he received the title of
Marquis of Ischia, with an annual pension of 3000 crowns.
Last projects
He now contemplated a great work, a colossal statue of Religion. The model filled Italy with admiration; the marble was
procured, and the chisel of the sculptor ready to be applied to it, when the jealousy of churchmen as to the site, or some other
cause, deprived the country of the projected work. The mind of Canova was inspired with the warmest sense of devotion, and though
foiled in this instance he resolved to consecrate a shrine to the cause. In his native village he began to make preparations for
erecting a temple which was to contain, not only the above statue, but other works of his own; within its precincts were to
repose also the ashes of the founder. Accordingly he repaired to Possagno in 1819. After the foundation-stone of this edifice had
been laid, Canova returned to Rome; but every succeeding autumn he continued to visit Possagno, in order to direct the workmen,
and encourage them with pecuniary rewards and medals.
In the meantime the vast expenditure exhausted his resources, and compelled him to labor with unceasing assiduity
notwithstanding age and disease. During the period which intervened between commencing operations at Possagno and his decease, he
executed or finished some of his most striking works. Amongst these were the group Mars and Venus, the colossal figure of
Pius VI, the Pietà, the St John, the recumbent
Magdalen. The last performance which issued from his hand was a colossal bust of his
friend, the Count Cicognara.
In May 1822 he paid a visit to Naples, to superintend the construction of wax moulds for an equestrian statue of the perjured
Bourbon king Ferdinand VII. This journey materially injured his health, but he
rallied again on his return to Rome. Towards the latter end of the year he paid his annual visit to the place of his birth, when
he experienced a relapse. He proceeded to Venice, and expired there at the age of nearly sixty-five. His disease was one which
had affected him from an early age, caused by the continual use of carving-tools, producing a depression of the ribs. The most
distinguished funeral honors were paid to his remains, which were deposited in the temple at Possagno on 25 October, 1822. His heart was interred in a marble pyramid he designed as a
mausoleum for the painter Titian in the church of
Santa Maria Gloriosa dei Frari in Venice, now a monument to
the sculptor.
Notable works
Perseus and the head of Medusa, by Antonio Canova.
Among Canova's heroic compositions, his Perseus with the Head of Medusa (photo, right)
appeared soon after his return from Germany. The moment of representation is when the hero, flushed with conquest, displays the
head of the "snaky Gorgon", whilst the right hand grasps a sword of singular device. By a public decree, this fine work was
placed in one of the stanze of the Vatican hitherto reserved for the most precious works of
antiquity.
In 1802, at the personal request of Napoleon, Canova repaired to Paris to model
a bust of the first consul. The artist was entertained with munificence, and various honors were conferred upon him. The statue,
which is colossal, was not finished till six years after. On the fall of the great emperor, Louis XVIII presented this statue to the British government, by whom it was afterwards given to
the Duke of Wellington.
Palamedes, Creugas and Damoxenus, the Combat of Theseus and the Centaur, and Hercules and Lichas
may close the class of heroic compositions, although the catalogue might be swelled by the enumeration of various others, such as
Hector and Ajax, and the statues of George Washington (commissioned by the
State of North Carolina to be displayed in its Capitol Building), King Ferdinand of Naples, and others. The group of Hercules and
Lichas is considered as the most terrible conception of Canova's mind, and in its peculiar style is scarcely to be
excelled.
Under the head of compositions of grace and elegance, the statue of Hebe takes the first place in point of date. Four
times has the artist embodied in stone the goddess of youth, and each time with some variation. The last one is in the Museum of
Forlì, in Italy. The only material improvement, however, is the
substitution of a support more suitable to the simplicity of the art. Each of the statues is, in all its details, in expression,
attitude and delicacy of finish, strikingly elegant.
The Dancing Nymphs maintain a character similar to that of the Hebe. The
Three Graces and the Venus are more elevated. The Awakened Nymph is another work of uncommon beauty. The
mother of Napoleon, his consort Maria Louise (as Concord), to model whom the author made a further journey to Paris in
1810, the princess Esterhazy and the muse Polymnia (Elisa Bonaparte) take their place in
this class, as do the ideal heads, comprising Corinna, Sappho, Laura, Beatrice and Helen of
Troy.
Of the cenotaphs and funeral monuments the most splendid is the monument to the archduchess Maria Christina of Austria, consisting of nine figures. Besides the two for the
Roman Pontiffs already mentioned, there is one for Alfieri, another for Emo, a Venetian admiral, and a small model of a cenotaph for Horatio Nelson, besides a great variety of monumental relieves.
References
This article incorporates text from the Encyclopædia
Britannica Eleventh Edition, a publication now in the public
domain.
- zu Dohna, Yvonne (2006). Canova und die
Tradition. Bern: Lang.
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