By Christopher M. S. Johns
The Venetian sculptor Antonio Canova (1757-1822) was once Europe's so much celebrated artist from the tip of the ancien r?gime to the early years of the recovery, an period while the conventional dating among buyers and artists replaced greatly. Christopher M. S. Johns's refreshingly unique learn explores a overlooked side of Canova's occupation: the results of consumers, patronage, and politics on his collection of matters and demeanour of operating. whereas different artists produced paintings within the carrier of the kingdom, Canova resisted the blandishments of the political powers that commissioned his works.Johns makes use of letters, diaries, and biographies to set up a political character for Canova as someone and an artist of foreign recognition. even though he had consumers as different because the pope, Napoleon, the Austrian Hapsburgs, the Prince Regent of significant Britain, and the Republic of Venice, Canova remained gradually hired and did so with no controversy. A conservative and a Catholic, he devised a technique that enabled him to paintings for customers who have been avowed enemies whereas final real to the cultural and inventive background of his Italian native land. utilizing fantasy and funerary pictures and averting portraiture, he disguised the meanings in the back of his works and therefore kept away from their being pointed out with any political purpose.Johns drastically complements our knowing of Canova's position in eu paintings and political historical past, and in exhibiting the impression of censorship, show, visible narrative, and propaganda, he highlights matters as contentious at the present time as they have been in Canova's time.
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Additional resources for Antonio Canova and the politics of patronage in revolutionary and Napoleonic Europe
Ickworth, Suffolk, England (Ickworth, The Bristol Collection, The National Trust; photo: Courtauld Institute) 150 68 Antonio Canova, Monument to Admiral Horatio Nelson, plaster, wax, and terra-cotta, 1806-7. Possagno, Gipsoteca Canoviana (photo: Gipsoteca Canoviana, Possagno) 153 69 Antonio Canova, The Three Graces, marble, 1815-17. London, The Victoria and Albert Museum, and Edinburgh, The National Galleries of Scotland (photo: V and A Picture Library, London) 157 70 Thomas Lawrence, Portrait of Antonio Canova, oil on canvas, 1818.
Parma, Galleria Nazionale (photo: Galleria Nazionale, Parma) 176 77 Paolo Veronese, The Marriage at Cana, oil on canvas, 1563. Paris, Musée du Louvre (photo: Alinari / Art Resource) 182 78 The Removal of the Italian Masterpieces from the Louvre, engraving, 1815 (photo: Bibliothèque Nationale, Paris) 186 79 Fête de la Liberté, engraving, 1798 (photo: Bibliothèque Nationale, Paris) 187 Page xvii 80 Cimabue, Madonna and Child Enthroned with Angels, tempera on panel, ca. 1280-90. Paris, Musée du Louvre (photo: University of Virginia Photographic Archive) 188 81 Giulio Romano, The Martyrdom of Saint Stephen, oil on panel, ca.
Cm. Includes bibhographical references and index. Title. 48-1984. Page vii FOR FRED LICHT WITH GRATITUDE AND AFFECTION Page viii Contents Acknowledgments ix List of Illustrations xi Introduction 1 1. Canova's Background, Religious Views, and Cultural Formation 15 2. Canova's Italianità and a Tale of Two Cities: Venice and Rome 39 3. Canova and the French from the Ancien Régime to the Restoration 69 4. Canova, Napoleon, and the Bonapartes 88 5. Canova and the Austrian Habsburgs 123 6. "That Illustrious and Generous Nation": Canova and the British 145 7.