Antonio Canova is an Italian sculptor and painter. He was the most significant representative of classicism in European culture. 19th century academics, including Thorvalsen, considered him a role model. The largest collections of Canova's works are kept in the Louvre and the Hermitage.
An outstanding representative of the new classicism glorified ideal beauty. With his works, he made a revolution in art. The master began to create in the baroque manner of Lorenzo Bernia, but then managed to find his own path.
The beginning of creativity
The biography of the famous master began in 1757. He was born in the Italian city of Possagno in the family of a stonemason Pietro Canova and his wife Angela Zardo Fantolini on November 1. The father died in 1761. The child was brought up by his grandfather.
Pazino Canova, who owned masonry workshops, was distinguished by a very difficult character. The boy learned to work with stone. The grandfather noticed the talent of his grandson and introduced Antonio Giovanni Faliero. In 1768, under the patronage of an influential senator, the young master began making his first works.
For the sake of teaching his grandson, the grandfather sold the farm. With the funds received, Antonio was able to study the art of the era of antiquity. In October 1773, the young man began the sculpture Orpheus and Eurydice, commissioned by his patron. He finished sculpting Canova two years later. The success of the work was deafening.
Ancient Greek art became a source of inspiration for the young sculptor. The recognized masterpieces of his modernity were not included in the number of role models. Antonio opened his workshop in Venice. A new composition, "Daedalus and Icarus", was created in it in 1779. After displaying it in Piazza San Marco, it was again universally recognized.
Wonderful work
One of Canova's first successful works features two figures. Icarus is impeccably beautiful and young. Old Daedalus's body is imperfect.
Daedalus and Icarus
On the example of juxtaposition of youth and old age, the impression of the composition is greatly enhanced.
The sculptor found and used a new, favorite, technique. The axis of symmetry runs in the center, but the figure of Icarus is tilted back. Together, both heroes create an X-shaped line, providing the necessary balance. The play of shadow and light was also important for the master.
In 1799, the twenty-two-year-old master moved to Rome. He began to study the creations of the masters of Greece. Having recognized all the main characters of mythology, Canova began to think over his own artistic traditions. The young master based them on the nobility of simplicity. This noticeably affected his work.
Cupid and Psyche
The sculptures of Antonio were placed on a par with the legendary sculptors of antiquity. The master worked to improve the classical style. The sculptor fits perfectly into the cultural atmosphere of the eternal city. His work has brought him recognition and worldwide success.
The composition "Cupid and Psyche", executed in 1800-1803, is represented by two figures. The God of love looks into the face of a beautiful beloved with tenderness. Psyche responds to him with the same feeling. The intersection of both shapes forms a sinuous and soft X-shaped line.
The audience gets the impression of figures floating in the air. Psyche with Cupid deviate diagonally. Equilibrium is achieved by the outstretched wings of the inhabitant of Olympus. The center of the composition is Psyche, hugging the god of love. The shapes are elegantly fluid. This is how the master expresses the idea of the ideality of beauty. The original of the statue is kept in the Louvre.
The first works of the sculptor repeated the works of famous sculptors. However, as he studied the works of Greek masters, Canova decided to avoid exaggerating the importance of passion and gestures in his compositions. He came to the conclusion that only by strict calculation and control he could convey sensuality with ideality.
The master's works were nothing like the art familiar to his contemporaries. Step by step, Canova created unique works, from wax and clay to plaster. Only after that did the work with marble begin. The sculptor worked tirelessly for 14 hours, not leaving the workshop for a minute. There is no information about his personal life.
Three Graces
Between 1813 and 1816, the sculpture "The Three Graces" was created. The idea came from Josephine Beauharnais. There are assumptions that at first the sculptor was going to portray Harit traditionally, as it was supposed in mythology. Thalia, Euphrosinia and Aglaya, the beautiful daughters of Zeus, accompanied the goddess of beauty Aphrodite.
Joy, prosperity and beauty became symbols of grace. The central figure of the composition is hugged by the other two. The unity is strengthened by the scarf that unites them. A kind of altar is a column-support with a wreath placed on it.
The play of light and shadow is achieved by the smooth curves of the bodies and the ideal processing of marble. This technique is used in other creations of the master. Harmony and sophistication are embodied in the three Charitas. The original of the sculpture is kept in the Hermitage.
The sculptor used only white marble for modeling. With the help of harmonious compositions, the immobility of creations seems alive. One gets the impression of being alive in motion. A feature of the master's talent was the maximum polishing of the material. All works acquired a special brilliance that draws attention to naturalness.
The Penitent Magdalene
Genoa is home to Canova's outstanding work. It was created in the period 1793-1796. This work was the first to appear at the Paris Exhibition in 1808. The center of the composition is the figure of a beautiful sinner with a broken body, her head bowed and eyes filled with tears. She cannot take her eyes off the crucifix in her hands.
The coarse hair shirt is supported by a rope, and hair is scattered over the shoulders. The figure is filled with sorrow. Clothes and body - with a slight touch of yellowish tint. With this technique, the master emphasizes the contrast between the charm radiated by the sinner and the knowledge of sinful depths. According to the sculptor's plan, only divine forgiveness elevates a person.
When the country was occupied by Napoleon, many works ended up in France. After the fall of the empire, Canova began their return. The successful work of the diplomat allowed the illegally exported works to be returned to Italy.
The outstanding sculptor died on October 13, 1822.
