All Antonio Canova Oil Paintings

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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Antonio Canova Recreation by our Gallery oil on canvas


Recreation by our Gallery
Recreation by our Gallery
Painting ID::  32542 		  mk79 1789-1790
  mk79 1789-1790

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Antonio Canova Recreation by our Gallery oil on canvas


Recreation by our Gallery
Recreation by our Gallery
Painting ID::  32614 		  mk79 1798
  mk79 1798

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Antonio Canova Marble oil on canvas


Marble
Marble
Painting ID::  38548 		  mk138 160x65x85cm In the Koniglichen Antikensamm-lung since 1830 transferred to the Nationalgalerie in 1878
  mk138 160x65x85cm In the Koniglichen Antikensamm-lung since 1830 transferred to the Nationalgalerie in 1878

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Antonio Canova Tomb of Pope Clement XIII oil on canvas


Tomb of Pope Clement XIII
Tomb of Pope Clement XIII
Painting ID::  62405 		  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
  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

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Antonio Canova The Three Graces Dancing oil on canvas


The Three Graces Dancing
The Three Graces Dancing
Painting ID::  62546 		  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
  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

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     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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