Toutes peintures ā l'huile d'Antonio Canova
ID Image Painting(From A to Z)    Details 
38548  
Antonio Canova, Marble
  		 Marble   mk138 160x65x85cm In the Koniglichen Antikensamm-lung since 1830 transferred to the Nationalgalerie in 1878
32542  
Antonio Canova, Recreation by our Gallery
  		 Recreation by our Gallery   mk79 1789-1790
32614  
Antonio Canova, Recreation by our Gallery
  		 Recreation by our Gallery   mk79 1798
78610  
Antonio Canova, Self-portrait
  		 Self-portrait   1790(1790) Oil on canvas 68 x 55 cm (26.8 x 21.7 in) cjr
62546  
Antonio Canova, The Three Graces Dancing
  		 The Three Graces Dancing   1799 Tempera on paper Canova Museum, Possagna Canova mentioned "various ideas on dances, the play between nymphs and cupids, muses, philosophers, etc., sketched exclusively for the artist's own study and enjoyment." There is little doubt he was referring to the tempera cycle at Possagno and similar sketches now in Bassano. Picking up the themes and techniques discovered in Herculaneum, Canova created brightly coloured mythological figures that stand out against the black background. These sketches are the forerunners of themes and figures he would later sculpt. The picture shows a detail from a frieze. Author: CANOVA, Antonio Title: The Three Graces Dancing Form: graphics , 1751-1800 , Italian , mythological
62405  
Antonio Canova, Tomb of Pope Clement XIII
  		 Tomb of Pope Clement XIII   1792 Marble Basilica di San Pietro, Vatican Here, too, Berninian references are not lacking, as in the figure of the pope, but the overall setting places the whole amongst the finest works of Neoclassical in general, not just in Rome. The asymmetrical figures of Religion and Genius generate a circular movement that pervades the entire composition. Author: CANOVA, Antonio Title: Tomb of Pope Clement XIII Form: sculpture , 1751-1800 , Italian , religious
Antonio Canova
Italian Neoclassical Sculptor, 1757-1822 Italian sculptor, painter, draughtsman and architect. He was the most innovative and widely acclaimed sculptor of NEO-CLASSICISM. His development during the 1780s of a new style of revolutionary severity and idealistic purity led many of his contemporaries to prefer his ideal sculptures to such previously universally admired Antique statues as the Medici Venus and the Farnese Hercules, thus greatly increasing the prestige of 'modern' sculpture. He was also much in demand as a portrait sculptor.



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