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Exhibiting Antonio Canova

Exhibiting Antonio Canova

Display and the Transformation of Sculptural Theory

  • Author: Ferando, Christina
  • Publisher: Amsterdam University Press
  • ISBN: 9789048557509
  • eISBN Pdf: 9789048557509
  • Place of publication:  Amsterdam , Netherlands
  • Year of digital publication: 2023
  • Month: August
  • Pages: 296
  • Language: English
Exhibiting Antonio Canova: Display and the Transformation of Sculptural Theory argues that the display of Canova’s sculptures in the late eighteenth and early nineteenth centuries acted as a catalyst for discourse across a broad range of subjects. By enshrining his marble figures alongside plaster casts of ancient works, bathing them in candlelight, staining and waxing their surfaces, and even setting them in motion on rotating bases, Canova engaged viewers intellectually, physically, and emotionally. These displays inspired discussions on topics as diverse as originality and artistic production, the association between the sculptural surface, flesh, and anatomy, the relationship between painting and sculpture, and the role of public museums. Beholders’ discussions also shaped the legacy of important sculptural theories. They helped usher in their modern definitions and created the lenses through which we experience and interpret works of art, establishing modern attitudes not just towards sculpture, but towards cultural patrimony in general.
  • Cover
  • Table of Contents
  • Acknowledgements
  • Introduction: Canova on Display
  • 1. Imagining Sculptural Practice
    • Art as a Political Tool
    • Sculpture, Eroticism, and the Senses
    • Shifting Models of Display and Engagement
    • Sculptural Practice in the Literary Imagination
    • The Authority of the Author
    • An Imperfect Understanding of Sculpture
  • 2. Reevaluating Ancients and Moderns
    • Imitation as Creative Practice
    • The Artist as Beholder
    • The Studio as Exhibition Space
    • Perseus in the Museum
    • Changing Ideas of Cultural Patrimony
    • Imitation as Plagiarism
  • 3. Anatomizing the Female Nude
    • The Creation of a Modern Venus
    • Venus in the Boudoir
    • The Tinted Surface
    • The Softness of Flesh
    • The Anatomy of Sculpture
    • Venus and the Clinical Gaze
  • 4. Challenging the Supremacy of Painting
    • Canova and the Veneto
    • Uniting Canova and Titian
    • Promoting Contemporary Venetian Art
    • Celebrating Venice’s Cultural Patrimony
    • Restoring Titian’s Assumption of the Virgin
    • Establishing the Supremacy of Sculpture
  • 5. Defining Modern Sculpture
    • A Foreign Artist in France
    • Romanticizing Artistic Production
    • Expression and the Art of Sculpture
    • Collecting as Expression of the Self
    • Sentiment, Interiority, and Universality
    • Sculpture as a Modern Art
  • Conclusion: Aftereffects
  • Bibliography
  • Index
  • List of Illustrations
    • Fig. 0.1: Thomas Lawrence, Portrait of the Italian Sculptor Antonio Canova (1757–1822). Oil on canvas, 91 × 71 cm. Musée du Louvre, Paris, France. © RMN-Grand Palais / Art Resource, NY
    • Fig. 0.2: L. & F., One-half of stereograph showing Canova’s Cupid and Psyche in the Musée du Louvre, 1856–1890. Notice the handle on the base of the sculpture which enables it to turn. Glass, paper, and sealed edge, 8.4 × 17.1 cm. Rijksmuseum, Amsterdam
    • Fig. 0.3: Anonymous, Canova’s Creugas, Triumphant Perseus, and Damoxenes in situ in the Vatican Museums, 1890–1910. Part of photo album of a journey through Southern Europe and the Middle East. Gelatin silver print, 19 × 24.6 cm. Rijksmuseum, Amsterdam
    • Fig. 0.4: Benjamin Zix, The Emperor Napoleon and Empress Marie-Louise Visiting the Laocoön Room in the Louvre by Torchlight, ca. 1804–1811. Pen and ink, 26 × 29 cm. Musée du Louvre, Paris, France. © RMN-Grand Palais / Art Resource, NY
    • Fig. 0.5: Antonio Canova, Psyche, 1793–1794. Marble, 150 × 50 × 60 cm; pedestal 80 × 60 cm. Kunsthalle Bremen, Germany. © Kunsthalle Bremen – Lars Lohrisch – ARTOTHEK
    • Fig. 0.6: Albert Christoph Dies, The Temple of Leopoldine with Lake, 1807. Oil on canvas, 168 × 217 cm. Private collection, Eisenstadt Castle, Eisenstadt, Austria. Esterházy Privatstiftung, Schloss Eisenstadt, Gemäldesammlung, B 95
    • Fig. 0.7: Antonio Canova, Three Graces, 1814–1817, in situ at the Duke of Bedford’s Woburn Abbey. From the Woburn Abbey Collection
    • Fig. 0.8: Pietro Vitali, “The Gallery of Hercules and Lychas in the Palazzo Torlonia,” frontispiece of P. Vitali, Marmi scolpiti esistenti nel palazzo di S.E. il Sig. Gio. Torlonia. Rome: Presso Vitali, [182–?], vol. 2. Getty Research Institute, Los Angel
    • Fig. 0.9: Carl Schmidt, Theseus Temple by Pietro von Nobile in the Volksgarten, Vienna, Perspective, 1820. Graphite, black pen, watercolor, 51.8 × 73.1 cm. The Albertina Museum, Vienna
    • Fig. 0.10: Carl Schmidt, Theseus Temple by Pietro von Nobile in the Volksgarten, Vienna, Cross-Section, 1820. Graphite, black pen, pink wash, 71.5 × 52 cm. The Albertina Museum, Vienna
    • Fig. 0.11: Pietro Nobile, Plan for a Temple for the Maria Christina Monument, Vienna (unrealized), 1803. 25.5 × 11.5 cm. Su concessione della Soprin­tendenza Archeologia, Belle Arti e Paesaggio del Friuli Venezia Giulia, Ministero della Cultura, Fondo Pie
    • Fig. 0.12: Pietro Nobile, Plan for a Temple for the Maria Christina Monument, Vienna (unrealized), 1803. 27.5 × 14.5 cm. Su concessione della Soprin­tendenza Archeologia, Belle Arti e Paesaggio del Friuli Venezia Giulia, Ministero della Cultura, Fondo Pie
    • Fig. 0.13: “Canova’s Studio,” L’Album, giornale letterario e di belle arti. Rome: Tipografia delle belle arti, 1835, vol. 2, no. 37 (Saturday, November 21, 1835): 296. Getty Research Institute, Los Angeles (85-S84)
    • Fig. 1.1: Antonio Canova, Venus and Adonis, ca. 1795. Marble, 183 × 90 × 62 cm; pedestal, 86 × 104 × 89 cm. Ville de Genève, Musées d’art et d’histoire. Dépôt de la Ville de Genève, 1995. © Musée d’art et d’histoire, Geneva, Switzerland, photographer: Bet
    • Fig. 1.2: Titian, Venus and Adonis, 1550s. Oil on canvas, 106.7 × 133.4 cm. The Metropolitan Museum of Art, New York, The Jules Bache Collection, 1949
    • Fig. 1.3: Antonio Canova, Venus and Adonis (detail), ca. 1795. Marble, 183 × 90 × 62 cm; pedestal, 86 × 104 × 89 cm. Ville de Genève, Musées d’art et d’histoire. Dépôt de la Ville de Genève, 1995. © Musée d’art et d’histoire, Geneva, Switzerland, photogra
    • Fig. 1.4: Antonio Canova, Venus and Adonis (rear view), ca. 1795. Marble, 183 × 90 × 62 cm; pedestal, 86 × 104 × 89 cm. Ville de Genève, Musées d’art et d’histoire. Dépôt de la Ville de Genève, 1995. © Musée d’art et d’histoire, Geneva, Switzerland, photo
    • Fig. 1.5: Antonio Canova, Venus and Adonis (detail), ca. 1795. Marble, 183 × 90 × 62 cm; pedestal, 86 × 104 × 89 cm. Ville de Genève, Musées d’art et d’histoire. Dépôt de la Ville de Genève, 1995. © Musée d’art et d’histoire, Geneva, Switzerland, photogra
    • Fig. 1.6: “The Berio Palace on Via Toledo, façade,” from Lettera ad un amico nella quale si dà ragguaglio della funzione seguita in Napoli il giorno 6 Settembre del 1772. Per solennizzare il battesimo della Reale Infanta Maria Teresa Carolina primogenita
    • Fig. 1.7: “The Berio Palace on Via Toledo, façade of interior courtyard,” from Lettera ad un amico nella quale si dà ragguaglio della funzione seguita in Napoli il giorno 6 Settembre del 1772. Per solennizzare il battesimo della Reale Infanta Maria Teresa
    • Fig. 1.8: Giannantonio Selva, Tempietto Dedicated to Ceres, Goddess of Abundance, in the Park of Villa Margherita, now Manfrin, Treviso, Italy, 1783. Photograph, ca. 1910. © Alinari Archives / Umberto Fini / Art Resource, NY
    • Fig. 1.9: Daniel Bozhkov, Antonio Canova’s Venus and Adonis in situ, based on Marchesa Boccapaduli’s description, 2007. Pencil drawing, 20.3 × 25.4 cm. Collection of the author © Daniel Bozhkov
    • Fig. 1.10: Jacques Rigaud, View of the Queen’s Theatre from the Rotunda at Stowe, Buckinghamshire, ca. 1739. Pen and ink, brush and wash, 29.5 × 49.5 cm. The Metropolitan Museum of Art, New York, Harris Brisbane Dick Fund, 1942
    • Fig. 1.11: Zecchino, after a drawing by G. B. Bosio, Portrait of Cav.re Carlo Castone Conte della Torre di Rezzonico, ca. 1815–1818. Etching, 21.7 × 15.3 cm. Rijksmuseum, Amsterdam
    • Fig. 1.12: Antonio Canova’s tools. Museo Gypsotheca Antonio Canova – Possagno, Italy
    • Fig. 1.13: Portrait of Tommaso Gargallo, frontispiece from Le opere di Orazio Flacco, recate in versi italiani di Tommaso Gargallo. Como: Figli di C. A. Ostinelli, 1827. Original source K. K. Hofbibliothek, Österreichische Nationalbibliothek. Digital imag
    • Fig. 1.14: Plate XLVIII in “De la sculpture,” from André Felibien, Principes de l’architecture, de la sculpture, de la peinture et des autres arts qui en dépendent: avec un dictionnaire des termes propres à chacun de ces arts. Paris: Jean-Baptiste Coigna
    • Fig. 1.15: Sculpture, différentes opérations pour le travail du marbre et outils, Plate I from Denis Diderot and Jean le Rond d’Alembert, eds., Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers, etc. Paris: Briasson, 1771. Vol. 
    • Fig. 1.16: Francesco Carradori, “Regole per cavare dalle misure qualunque lavoro di scultura,” Istruzione elementare per gli studiosi della scultura. Florence, [s.n.], 1802, pl. VIII. The Metropolitan Museum of Art, New York
    • Fig. 1.17: Louis Boilly, The Studio of Jean Antoine Houdon (1741–1828), after 1803. Oil on canvas, 86.3 × 105 cm. © Musée d’art, Thomas Henry, Cherbourg / HIP / Art Resource, NY
    • Fig. 1.18: “Studio di Bartolomeo Cavaceppi, ove sono state restaurate le statue contenute nella presente Raccolta,” frontispiece from Bartolomeo Cavaceppi, Raccolta d’antiche statue, busti, bassirilievi ed altre sculture restaurate. 3 vols. Rome: 1768–177
    • Fig. 1.19: Francesco Chiarottini, Canova’s Studio in Via San Giacomo, Rome, ca. 1786. Pen, watercolor, and highlight on paper, 38.5 × 56 cm. Museo Civico, Udine, Italy. © Ghigo G. Roli / Art Resource, NY
    • Fig. 1.20: Photomechanical print after François-Xavier Fabre, Portrait of the Sculptor Antonio Canova (1812), 1880–1900. Original painting, Musée Fabre, Montpellier, France. Library of Congress Prints and Photographs Division, Miscellaneous Items, Washing
    • Fig. 2.1: Charles Joseph Natoire, Life Class at the Royal Academy of Painting and Sculpture, 1746. Pen, black and brown ink, grey wash, watercolor, and traces of graphite over black chalk on laid paper, 45.3 × 32.3 cm. Samuel Courtauld Trust, Witt Collect
    • Fig. 2.2: Apollo Belvedere, second century CE. Marble, 224 × 118 × 77 cm. Cortile del Belvedere, Museo Pio-Clementino, Vatican Museums, Vatican City State. White Images / Scala / Art Resource, NY
    • Fig. 2.3: Antonio Canova, Triumphant Perseus, 1787–1801. Marble, 235 × 190 × 110 cm. Cortile del Belvedere, Museo Pio-Clementino, Vatican Museums, Vatican City State. © Vanni Archive / Art Resource, NY
    • Fig. 2.4: Benvenuto Cellini, Perseus with the Head of Medusa, 1545–1553. Bronze, h. 550 cm. Loggia dei Lanzi, Piazza della Signoria, Florence, Italy. Pictures from History / David Henley / Bridgeman Images
    • Fig. 2.5: Canova’s annotations (n.d.) on an engraving of the Apollo Belvedere, Plate 35 from Giovanni Volpato and Raffaello Morghen, Principi del disegno tratti dalle piú eccellenti statue antiche: per li giovani che vogliono incamminarsi nello studio del
    • Fig. 2.6: Antonio Canova, Perseus with the Head of Medusa, 1804–1806. Marble, 242.6 × 191.8 × 102.9 cm. The Metropolitan Museum of Art, New York, Fletcher Fund, 1967
    • Fig. 2.7: Antonio Canova, Perseus with the Head of Medusa (detail), 1804–1806. Marble, 242.6 × 191.8 × 102.9 cm. The Metropolitan Museum of Art, Fletcher Fund, 1967
    • Fig. 2.8: Antonio Canova, Perseus with the Head of Medusa (detail, illuminated), 1804–1806. Marble, 242.6 × 191.8 × 102.9 cm. The Metropolitan Museum of Art, New York, Fletcher Fund, 1967. © Christine A. Butler
    • Fig. 2.9: Antonio Canova, Hercules and Lychas, ca. 1795–1815. Marble, 350 × 152 × 212 cm. Galleria Nazionale d’Arte Moderna, Rome, Italy. Scala / Ministero per i Beni e le Attività culturali / Art Resource, NY
    • Fig. 2.10: Keystone View Company, One-half of stereograph showing the Farnese Hercules, National Museum, Naples, Italy, [between 1860 and 1930]. Photograph, Mount 9 × 18 cm. Library of Congress, Prints & Photographs Division, https://www.loc.gov/item/2020
    • Fig. 2.11: Jean Jérôme Baugean, Departure for France of the Third Convoy of Statues and Italian Works of Art, 1797. Etching, 45 × 60.6 cm (trimmed). © The Trustees of the British Museum
    • Fig. 2.12: Antoine Béranger after Achille Valois, The Entry into Paris of Works Destined for the Musée Napoléon, 1810–1813. Hard porcelain and gilded bronze, 127.2 × 84 cm, opening diameter, 64.9 cm. Manufacture et Musée Nationaux, Sèvres, France. © RMN-G
    • Fig. 2.13: The Octagonal Courtyard of the Museo Pio-Clementino, showing gabinetti walls bricked up by Canova. Photo copyright © Governorate of the Vatican City State-Directorate of the Vatican Museums
    • Fig. 2.14: Hubert Robert, La salle des saisons au Louvre, showing the Crouching Venus, Diana the Huntress and the Laocoön, ca. 1802–1803. Oil on canvas, 37 × 46 cm. Musée du Louvre, Paris, France. © RMN-Grand Palais / Art Resource, NY
    • Fig. 2.15: Jean Bertrand Andrieu after a design by Dominique-Vivant Denon, Medal of the Musée Napoléon (reverse), showing the Laocoön in situ. Bronze, 3.43 cm. Yale University Art Gallery, Transfer from the Yale University Library, Numismatic Collection,
    • Fig. 2.16: Jean Bertrand Andrieu after a design by Dominique-Vivant Denon, Medal of Musée Napoléon (reverse), showing the Apollo Belvedere in situ, with a small bust of Napoleon over the arch, 1804. Gold, 3.2 cm. Bibliothèque nationale de France
    • Fig. 2.17: The French Artist Mourning the Chances of War, 1815. Colored etching. Bibliothèque National de France, Cabinet des Estampes et de la Photographie, Collection Hennin, Inv. no. 13832, Paris
    • Fig. 2.18: Pietro Paoletti, Canova Presenting to Pius VII the Monuments of Italian Glory Recovered from Paris in the Vatican State in 1814. Drawing, 25.4 × 34.5 cm. Gabinetto dei Disegni e delle Stampe, Album Cicognara, A. 77, n. 44, Museo Correr, Venice.
    • Fig. 2.19: James Anderson, Museo Chiaramonti, ca. 1857–1875. Albumen print, 20 × 25.7 cm. Part of a photo album of 57 photographs of works of art, mostly from the Vatican Museums. Gift of J. P. Filedt Kok, Amsterdam. Rijksmuseum, Amsterdam
    • Fig. 2.20: Francesco Hayez, Allegory of the Return to Rome of the Works Plundered from the Papal States, 1817. Fresco, Museo Chiaramonti, Vatican Museums, Vatican City State. Scala / Art Resource, NY
    • Fig. 2.21: Francesco Hayez, Sculpture Honored, 1817. Fresco, Museo Chiaramonti, Vatican Museums, Vatican City State. Photo copyright © Governorate of the Vatican City State-Directorate of the Vatican Museums
    • Fig. 2.22: Giovanni Demin, Painting Honored, 1817. Fresco, Museo Chiaramonti, Vatican Museums, Vatican City State. Photo copyright © Governorate of the Vatican City State-Directorate of the Vatican Museums
    • Fig. 2.23: Salvatore Passamonti, Medal commemorating the return of looted objects, showing Canova (recto) and the Apollo Belvedere (verso), 1816. Bronze, 6.76 cm. Yale University Art Gallery, Transfer from the Yale University Library, Numismatic Collectio
    • Fig. 3.1: Antonio Canova, Venus Italica, 1804–1812. Marble, 172 × 55 × 52 cm. Palazzo Pitti, Florence, Italy. White Images / Scala / Art Resource, NY
    • Fig. 3.2: Fratelli Alinari, Photograph of the Venus de’Medici (first century BCE), ca. 1856–1872. Albumen silver print, 33 × 25.2 cm (Sculpture: Marble, h. 153 cm). J. Paul Getty Museum, Los Angeles
    • Fig. 3.3: The Venus de’Medici in the Tribuna in the Galleria degli Uffizi, Florence, ca. 1870–1890. Albumen print, 19.5 × 25.3 cm. Rijksmuseum, Amsterdam
    • Fig. 3.4: Antonio Canova, Venus Italica, 1804–1812 (detail, torso, and side view). Marble, 172 × 55 × 52 cm. Palazzo Pitti, Florence, Italy. Mondadori Portfolio / Electa / Sergio Anelli / Bridgeman Images
    • Fig. 3.5: Antonio Canova, Venus Italica, 1804–1812 (rear view). Marble, 172 × 52 × 55 cm. Palazzo Pitti, Florence, Italy. Luisa Ricciarini / Bridgeman Images
    • Fig. 3.6: The Gabinetto Rotondo in the Palazzo Pitti, Florence, Italy. Scala / Art Resource, NY
    • Fig. 3.7: François Boucher, The Toilette of Venus, 1751. Oil on canvas, 108.3 × 85.1 cm. The Metropolitan Museum of Art, New York, Bequest of William K. Vanderbilt, 1920
    • Fig. 3.8: Louis-Marin Bonnet after Nicolas-René Jollain, La Toilette, 1781. Color stipple. Courtesy National Gallery of Art, Washington, DC
    • Fig. 3.9: Anonymous, La Toilette Intime, ca. 1765. Colored aquatint, 17.1 × 12.8 cm. Musée Carnavalet, Paris, France. Paris Musées / Musée Carnavalet – Histoire de Paris
    • Fig. 3.10: Michelangelo, St. Matthew (detail), 1505–1506. Marble, h. 271 cm. Galleria dell’Accademia, Florence, Italy. Scala / Art Resource, NY
    • Fig. 3.11: Gian-Lorenzo Bernini, The Rape of Persephone (detail), 1621–1622. Marble, 255 cm (without base). Galleria Borghese, Rome, Italy. Photo © Andrea Jemolo / Bridgeman Images
    • Fig. 3.12: Jean Raoux, Pygmalion, 1717. Oil on canvas, 128 × 97 cm. Musée Fabre, Montpellier, France. © Musée Fabre de Montpellier Méditerranée Métropole / photographie Frédéric Jaulmes – Reproduction interdite sans autorisation
    • Fig. 3.13: Andreas Vesalius, “Organis Nutritioni, Vigesimasecunda Quinti Libri Figura,” De humani corporis fabrica libri septum, 1543. Basileae: [ex officina Ioannis Oporini, 1543]. Medical Historical Library, Harvey Cushing / John Hay Whitney Medical Lib
    • Fig. 3.14: “Nella quale so mostrano i muscoli, e le parti, che soggiacciono ai gia indicati membri nell’antecedente tavola,” Plate XIII (based on the Laocoön) from Bernardino Genga, Anatomia per uso et intelligenza del disegno. Rome: Domenico de Rossi, he
    • Fig. 3.15: Plate I from Jean-Galbert Salvage, Anatomie du gladiateur combattant, applicable aux beaux arts; ou, Traité des os, des muscles, du mécanisme de mouvemens, des proportions et des caractères du corps humain. Paris: Auteur, 1812. The Metropoli
    • Fig. 3.16: Jean-Galbert Salvage, Écorchés after the Apollo Belvedere, 1806. Plaster, 67 × 34 cm and 67 × 41 × 26 cm, respectively. École national supérieure des Beaux-Arts, Paris, France. © Beaux-Arts de Paris, Dist. RMN-Grand Palais / Art Resource, NY
    • Fig. 3.17: Dessein, Proportions de la Venus de Médicis, Plate XXXVIII from Denis Diderot and Jean le Rond d’Alembert, eds. Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers, etc. Paris: Briasson, David, Le Breton, and Durand, 17
    • Fig. 3.18: Antonio Canova, Venus de’Medici, n.d. Red chalk on laid pale-blue paper, 50.4 × 36.4 cm. Musei civici di Bassano del Grappa, Italy
    • Fig. 3.19: Thomas Patch, A Gathering of Dilettanti around the Medici Venus, ca. 1760–1761 Oil on canvas, 147.2 × 238.3 cm. The Brinsley Ford Collection. ©National Trust Images / Creative Commercial Photography. ©The National Trust / Augustine Ford
    • Fig. 3.20: “Tab. Sesta del lib. Tercero,” Plate XXX from Juan Valverde de Amusco, Nicolas Beatrizet, and Gaspar Becerra, Historia de la composicion del cuerpo humano, escrita por Ioan de Valuerde de Hamusco. Rome: Antonio de Salamanca and Antonio Lafrery,
    • Fig. 3.21: François Andriot after Charles Errard, Statua delle Venere de Medici di veduta in profilo […], Plate XXXX from Bernardino Genga, Anatomia per uso et intelligenza del disegno. Rome: Domenico de Rossi, herede di Gio. Jacomo de Rossi, 1691. Medica
    • Fig. 3.22: The Sceleton [sic] of a Woman, in the Same Proportions with the Venus of Medicis, Plate XXXIV from William Cheselden, Osteographia, or the Anatomy of the Bones. London, [s.n.]: 1733[?]. Medical Historical Library, Harvey Cushing / John Hay Whit
    • Fig. 3.23: Clemente Susini, Anatomical Venus, 1780–1782. Sistema Museale dell’Università degli Studi di Firenze, Museo di Storia Naturale dell’Università di Firenze, Museo “La Specola,” Florence, Italy. Photo © Raffaello Bencini / Bridgeman Images
    • Fig. 3.24: Clemente Susini, Anatomical Venus, 1780–1782. Sistema Museale dell’Università degli Studi di Firenze, Museo di Storia Naturale dell’Università di Firenze, Museo “La Specola,” Florence, Italy. Photo credit: Saulo Bambi – Sistema Museale dell’Uni
    • Fig. 3.25: William Heath, A Pair of Broad Bottoms, 1810. Etching, hand-colored, on wove paper, 35 × 25 cm. Courtesy of The Lewis Walpole Library, Yale University
    • Fig. 4.1: Antonio Canova, Model for the Monument to Titian, ca. 1790–1795. Terracotta, 70 × 69 × 20.5 cm. Museo Gypsotheca Antonio Canova – Possagno, Italy
    • Fig. 4.2: Giuseppe Borsato, Leopoldo Cicognara, President of the Accademia in Venice, Showing the Canova Tomb in S. Maria Gloriosa dei Frari, Venice, ca. 1827. Oil on canvas, 80 × 61 cm. Musée Marmottan Monet, Paris, France. Cameraphoto Arte, Venice / Art
    • Fig. 4.3: Ludovico Lipparini, Portrait of Leopoldo Cicognara with Canova’s Beatrice, 1825. Oil in canvas, 193 × 118 cm. Ca’ Pesaro – Galleria Internazionale d’Arte Moderna, Venice, Italy. Cameraphoto Arte, Venice / Art Resource, NY
    • Fig. 4.4: Antonio Canova, Polinnia, 1817. Marble, 152 × 127 × 72 cm. Hofburg Imperial Palace, Vienna, Austria. © Mark E. Smith / Scala / Art Resource, NY
    • Fig. 4.5: Antonio Canova, Bozzetto for Elisa Baciocchi Bonaparte as the Muse Polinnia. Terracotta, 26.8 × 11.5 × 20.5 cm. Private Collection, Turin, Italy
    • Fig. 4.6: Giuseppe Borsato, Commemoration of Canova in the Scuola Grande della Carità, 1822. Oil on canvas, 61 × 78 cm. Ca’ Pesaro – Galleria Internazionale d’Arte Moderna, Venice, Italy. Cameraphoto Arte, Venice / Art Resource, NY
    • Fig. 4.7: Titian, Assumption of the Virgin, 1516–1518. Oil on panel, 690 × 360 cm. Santa Maria Gloriosa dei Frari, Venice, Italy. Cameraphoto Arte, Venice / Art Resource, NY
    • Fig. 4.8: William Hogarth, Time Smoking a Picture, 1761. Etching, 23.3 × 18.5 cm. Rijksmuseum, Amsterdam
    • Fig. 4.9: Raphael, The Transfiguration, 1817. Oil on panel, 410 × 279 cm. Pinacoteca, Vatican Museums, Vatican City State. Scala / Art Resource, NY
    • Fig. 4.10: Letterio Subba, Antonio Canova in His Studio, ca. 1819. oil on canvas, 70 × 60 cm. Su concessione della Regione Siciliana, Assessorato dei Beni Culturali e della Identità siciliana – Dipartimento dei Beni Culturali e della Identità siciliana –
    • Fig. 4.11: Antonio Canova, Model for Portrait Bust of Elisa Baciocchi. Plaster, 42 × 28 × 28 cm. Museo Gypsotheca Antonio Canova – Possagno, Italy
    • Fig. 4.12: Antonio Canova, Polinnia (side view), 1817. Marble, 152 × 127 × 72 cm. Hofburg Imperial Palace, Vienna, Austria. © Mark E. Smith / Scala / Art Resource, NY
    • Fig. 4.13: Pietro Fontana, Engraving of Canova’s Polinnia, from L’omaggio delle Provincie Venete alla Maestà di Carolina Augusta, Imperatrice d’Austria. Venice: Dalla tipografia di Alvisopoli, 1818. Signature: Quellen.Guiden.Ital.Vene.-048; Vienna Univers
    • Fig. 4.14: Antonio Canova, Seated Woman, n.d. Tab lowered, showing profile view. Pencil drawing, 21.4 × 15.7 cm. Musei Civici di Bassano del Grappa, Italy
    • Fig. 4.15: Antonio Canova, Seated Woman, n.d. Tab raised. Pencil drawing, 21.4 × 15.7 cm. Musei Civici di Bassano del Grappa, Italy
    • Fig. 5.1: Antonio Canova, The Penitent Magdalene, 1796. Marble and gilded bronze, 95 × 70 × 77 cm. Genova, Musei di Strada Nuova – Palazzo Tursi, Italy. (© Musei di Strada Nuova, Genova)
    • Fig. 5.2: Louis-Léopold Boilly, Napoleon Honoring the Sculptor Cartellier at the Salon of 1808. Oil on canvas, 42 × 61.5 cm. Napoleonmuseum, Arenenberg, Switzerland
    • Fig. 5.3: Antonio Canova, Penitent Magdalene, 1793–1794. Clay, 22 × 19 cm. Museo Correr, Venice, Italy. © Photo Archive – Fondazione Musei Civici di Venezia
    • Fig. 5.4: Donatello, The Penitent Magdalene, ca. 1453–1455. Wood with polychromy and gold, 181 × 51 × 45 cm. Museo dell’Opera del Duomo, Florence, Italy. Scala / Art Resource, NY
    • Fig. 5.5: Antonio Canova, The Penitent Magdalene (detail), version from 1808/1809. Marble, 95 × 70 × 77 cm. The State Hermitage Museum, St. Petersburg, Russia. Photograph © The State Hermitage Museum / photo by Alexander Lavrentyev
    • Fig. 5.6: Antonio Canova, The Penitent Magdalene (rear view), version from 1808/1809. Marble, 95 × 70 × 77 cm. The State Hermitage Museum, St. Petersburg, Russia. Photograph © The State Hermitage Museum / photo by Alexander Lavrentyev
    • Fig. 5.7: Pierre-Paul Prud’hon, Portrait of Gian-Battista Sommariva, ca. 1815. Oil on canvas, 210 × 156 cm. Pinacoteca di Brera, Milan, Italy. © DeA Picture Library / Art Resource, NY
    • Fig. 5.8: Anne-Louis Girodet-Trioson, Pygmalion and Galatée, 1819. Oil on canvas, 253 × 202 cm. Musée du Louvre, Paris, France. © RMN-Grand Palais / Art Resource, NY
    • Fig. 5.9: François-Louis Dejuinne, Girodet painting “Pygmalion and Galatea”, 1821. Oil on canvas, 65 × 54.5 cm. Musée Girodet, Montargis, France. © F. Lauginie / Musée Girodet, Montargis
    • Fig. 5.10: Enamels commissioned by Sommariva of paintings in his collection, in situ at the Galleria d’Arte Moderna, Milan, Italy, 2006–2008. Pinacoteca di Brera, Milan, Italy; on deposit at Galleria d’Arte Moderna, Milan, Italy
    • Fig. 5.11: Giovanni Beltrami, The Death of Abel, after Michel Martin Drölling fils, 1819. Engraved cornelian, oval frame in gilt bronze, 5 × 3.7 cm, with the frame, 9.8 × 8.8 cm. Signed and dated, Beltrami INC. 1819 / Drolling Fils Pinx / Sommariva possie
    • Fig. 5.12: Giovanni Beltrami, The Last Kiss of Romeo and Juliet, after Francesco Hayez, 1824. Rock crystal, 12.7 × 0.7 × 9.2 cm. The Metropolitan Museum of Art, New York, Purchase, The Isaacson-Draper Foundation Gift, 2016
    • Fig. 5.13: Bartolomeo et Pietro Paoletti, Museo di S. E. il sig. cont. Sommariva, [1822–1834]. Bibliothèque de l’Institut national d’histoire de l’art, collections Jacques Doucet, Ms 808, n. 1–19. Photo credit: Bibliothèque de l’Institut national d’histoi
    • Fig. 5.14: Plaster cast after Giovanni Beltrami’s cameo after Pierre-Paul Prud’hon’s Portrait of Count Sommariva in His Villa in Tremezzo. Bibliothèque de l’Institut national d’histoire de l’art, collections Jacques Doucet, Ms 808, no. 1 Photo credit: Bib
    • Fig. 5.15: Francesco Carnesecchi, Impressions of Intaglios after the Statuary of Canova, ca. 1822–1844. Plaster, paper, and leather, 25.4 × 17.1 × 5.6 cm. The Metropolitan Museum of Art, New York, Gift of Joseph D. Ryle, 1992
    • Fig. 5.16: Plaster cast after Giuseppe Girometti’s cameo after Canova’s Penitent Magdalene. Paoletti impronte [realia], Roma S. Paoletti … di studio in Via della Croce, 86, [ca. 1865?], plaster. Yale Center for British Art, Paul Mellon Fund
    • Fig. 5.17: Antonio Canova, Terpsichore, 1816. Marble, 177.5 × 78.1 × 61 cm. Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund
    • Fig. 5.18: Antonio Canova, The Penitent Magdalene (detail), version from 1808/1809. Marble, 95 × 70 × 77 cm. The State Hermitage Museum, St. Petersburg, Russia. Photograph © The State Hermitage Museum / photo by Alexander Lavrentyev

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