Antonio Canova - the new Phidias

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

Childhood and youth

Antonio Antonio was born in Poslando, in a small town in Treviso, in the foothills of Grappa. In four years he lost both parents and was brought up by his grandfather, who was of a difficult nature. My 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. 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 began working on the sculpture "Orpheus and Eurydice", which was completed in two years and was adopted with great success. He was inspired by ancient Greek art and did not succumb to the influence of masterpieces of the XVIII century. Young Antonio created his own workshop in Venice. In 1779, he sculpted another sculpture - Daedalus and Icarus - and exhibited it on St. Mark's Square. It was also widely recognized.

Daedalus and Icarus

One of the first works of Canova, which depicts two figures. It's a young, perfectly beautiful Icarus and an old, with a far-flawed Daedalus body. Admission of the contrast of old age and youth enhances the impression of the composition in which the sculptor finds a new reception. He will use it in the future: the axis of symmetry is in the center, but Icarus is turned back, and they together with Daedalus form an X-shaped line. So he gets the necessary balance. The play of light and shadow is also important for the master.

Moving to Rome

In 22 years, in 1799, Antonio left for Rome and began to study deeply the work of Greek masters. He also goes to the school "nude" of the French Academy and the Capitoline Museum. He learns the main characters of the 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 sculptures creates such that his contemporaries believe that he stands on par with the best antique sculptors. But it will be a little later, but for now it just fits in well with 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 are executed in 1800-1803. The God of love gazes intently at the face of his beloved Psyche, who answers him with no less affection. The figures intersect in space in such a way that they form a soft, twisty X-line, giving the impression that they are hovering in space.

This is a very elegant arabesque, in which Psyche and Cupid disperse diagonally. Spread the wings of the God of Love, balance the position of the bodies. Hands of Psyche, hugging the head of the Amur, create a center on which all attention is concentrated. The elegant, flowing forms of lovers express Antonio's idea of perfect beauty. The original work is kept in the Louvre.

The influence of Greek art

Initially, the work of Antonio was not too different from the works of other sculptors. However, studying the Greek sculptures, Canova Antonio came to the conclusion that it is necessary to avoid exaggerated images of passions and gestures. Only by controlling oneself, believing harmony with algebra, speaking in a parable manner, one can convey the sensuous in the ideal. It will be unlike the art of rococo. Antonio gradually created his works. First in wax, then in clay, then in gypsum. And only after that went to marble. He was an indefatigable toiler who did not leave the workshop for 12-14 hours.

Mythological subjects

The "Three Graces" were created between 1813 and 1816 at the request of Josephine Beauharnais. It is likely that Kanova wanted to portray the traditional image of Harit, which existed in Greco-Roman mythology. 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 strengthens the unity of the figures. It is worth noting the presence of a column-support, 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 the play of light and shadow. The three Charities represent grace, which is understood as the harmony of form, refinement and grace of poses. The original is in the Hermitage.

Inimitable style

The sculptor used exclusively white marble, which modeled with plasticity and grace, refinement and ease. His harmonious sculptures, living in stillness, still seem to be reviving in movements. Another feature of his talent was that he polished all the polishing work to the maximum. Due to this, they have a special shine, which accentuates attention to natural radiant beauty.

"Penitent Magdalene"

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

She wears a coarse hair shirt, which is supported by a rope, her hair is carelessly scattered over her shoulders. The whole figure is full of sorrow. Clothes and body have a slightly yellowish coating. This sculptor wanted to emphasize the contrast between the sensual charm that comes from the figure, and the knowledge of the depths of sin. By calling for divine forgiveness, repentance, the author sought to elevate man.

During the occupation of Italy by Napoleon, many Italian works were taken to France. After the fall of the empire, Canova took on the diplomatic work to return them to their homeland. Stolen and illegally exported works of art due to his efforts were returned. Pope Pius VII as a token of gratitude for patriotism gave him the title of Marquis of Ischia di Castro. So unexpectedly formed the biography of Antonio Canova.

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

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