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Antonio Canova Portrait [Museum Quality Fine Art Prints] - Fine ArtAntonio Canova Portrait [Museum Quality Fine Art Prints] - Fine ArtAntonio Canova Portrait [Museum Quality Fine Art Prints] - Fine ArtAntonio Canova Portrait [Museum Quality Fine Art Prints] - Fine Art

Antonio Canova Portrait [Museum Quality Fine Art Prints]

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ATX Fine Arts

Antonio Canova Portrait Painting

Who was Antonio Canova?

Antonio Canova was a neoclassical Italian sculptor and painter who was conceived in Possagno, Italy, on November first, 1757. He was viewed as the best European sculptor and his works have impacted different sculptors. He was executive of San Lucas Academy in Rome and a reviewer of the Antiquities and Fine Arts of the Pontifical States. He got a few prizes for his works and was granted with the title of Marquis of Ischia. His works, roused by old Greece, address various topics, for example, saints, characters from Greek folklore and funerary landmarks. Among his, some outstanding models are "The Three Graces", "Orpheus and Eurydice", "Venus Victrix" and "Mind vivified by the kiss of affection". He kicked the bucket in Venice on 13 October 1822. In the place where he grew up, Possagno, the Canovano Museum of Possagno was made and a significant number of the works and information about the life of this craftsman can be seen there.

Antonio Canova Biography

During the main portion of the eighteenth-century expressions of the human experience had been commanded by the lavish, a light, fun-loving, and blue-blooded style. By the 1760s, in any case, the lavish was enduring an onslaught by learned people and pundits as being unimportant and trivial, and simultaneously a few significant books were distributed concerning old Greek and Roman workmanship and design. The chic and creative taste started to move gradually from the extravagant to the specialty of ancient times, and when Canova arrived at development as a sculptor, neoclassicism had accomplished a for all intents and purposes total triumph in painting, model, engineering, and the improving expressions. Canova's enthusiasm for antiquated workmanship and his investigation of it joined with his specific abilities and the flavor of the period drove him to the statures of achievement as a hero of neoclassicism in the figure. Among 1783 and his passing about 40 years after the fact, Canova got significant and broad commissions from the popes, Napoleon, the Hapsburgs, and individuals from the English privileged. He voyaged generally and worked in Rome, Paris, and Vienna. His statues turned out to be famous to such an extent that he used numerous colleagues and different mechanical strategies so as to fulfill the needs made upon him. In 1805, by which time his notoriety for being the most prominent sculptor in Europe was solidly settled, he was named by Pope Pius VII as monitor general of expressive arts and ancient pieces for the Papal States. After five years he moved toward becoming executive of the Academy of St. Luke in Rome, the official craftsmanship institute of the Papal States. Canova's adult style got explicitly and straightforwardly from the old Greek and Roman figure, and his topic was frequently taken from traditional folklore. Perseus (1801) mirrors his old style taste for admiration, communicated in deliberately controlled harmonies of extent, clear line, smooth demonstrating and smooth surfaces. Two renowned and normal works which he made for the Bonaparte family are the fantastic marble statues of Napoleon (1802-1810) and of Napoleon's sister, Pauline Borghese (1808). In the statue of Napoleon, which is about 12 feet high, Canova introduced the triumphant Bonaparte as a bare Roman head, his facial highlights made to comply with the old style perfect. Princess Borghese, life-size and halfway hung, is appeared as Venus leaning back on a lounge chair. The two works are striking for reliance upon Hellenistic sources, romanticized flawlessness of the structures, the ease of line, smooth displaying, and impeccably refined detail. He made a great perfect of human magnificence which applied a solid impact on a scholastic figure during the vast majority of the nineteenth century. Late in the century, nonetheless, Canova's work was cruelly scrutinized as chilly, dead, deadened, and an unimportant impersonation of old workmanship. This antagonistic basic judgment of Canova's figure won well into the twentieth century, yet later and increasingly target investigations of the whole neoclassic development have would, in general, reestablish to Canova's notoriety a portion of the gloss which it had during his lifetime.

Antonio Canova’s Works

  • Theseus and the Minotaur, 1781-1783.
  • Tomb of Clement XIV, 1783-1787.
  • Eros and Psyche, 1787-1793.
  • Venus and Adonis, 1789-1794.
  • Tomb of Archduchess Maria Cristina of Habsburg, 1798-1815.
  • Players of astragals, around 1800.
  • Perseus with Medusa’s head, 1800-1801.
  • Pauline Bonaparte as Venus victorious, 1804-1808.
  • Venus italic, 1804-1812.
  • Theseus in battle with a centaur, 1804-1819.
  • Dancer, 1812.
  • The Three Graces, 1815-1817.

Antonio Canova Portrait

Antonio Canova Portrait

Our fine art prints are just the way to add that beautiful finishing touch to a room! Printed on archival quality paper and a perfect matte finish for framing.

• Printed on Breathing Color Pura Smooth paper (archival quality)
• 300gsm weight
• Matte finish, no surface glare
• Printed by an 11 color Epson printer using Epson Ultrachrome HDX inks
• Inks are museum quality and feature print permanence ratings of up to 200 years
• Resistant to humidity, UV and atmospheric ozone

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