CANOVA: SKETCHING IN CLAY

Country: USA
City: Washington
Museum/Gallery: National Gallery of Art
Artist: Antonio Canova
Year: 1757-1822

 

DETAIL of Antonio Canova. The Three Graces, 1812, terracottaCANOVA HEADER FINAL 2 1000NATIONAL GALLERY OF ART
from June 11 through October 9, 2023 

and at the Art Institute of Chicago
from November 19, 2023, through March 18, 2024.

The exhibition explores Canova’s process detailing how he designed in clay
and how he moved from sketch to finished statue

Antonio_Canova_Selfportrait_1792Celebrated for sensual marble sculptures that represented a new approach to classical idealism, Antonio Canova (1757–1822) was the preeminent European artist of his time.
He used clay in a variety of ways: to explore his ideas in three dimensions; to present his designs to patrons in the form of more finished models; to create larger models that helped him refine the details of his designs; and to produce the final full-scale models that were then cast in plaster.

Antonio Canova
Selfportrait, 1792



Canova’s phenomenal skill as a modeler 
Marked with rapid impressions from his fingers and tools, his models are
completely different in character from his marbles, which are finished
to a perfection that hides all trace of the artist’s hand.

MYTHS AND LEGENDS

“Adam and Eve Mourning the Dead Abel”
Antonio Canova, c. 1818–1822, terracotta, overall: 22 x 30 x 18 cm (8 11/16 x 11 13/16 x 7 1/16 in.)
Museo Gypsotheca Antonio Canova, Possagno. Photographed by Luigi Spina

Antonio Canova_Adam and Eve Mourning the Dead Abel, c. 1818–1822_terracotta_Museo Gypsotheca Antonio Canova, Possagno_5283-031

Detail of  “Adam and Eve Mourning the Dead Abel”

Antonio Canova. Adam and Eve Mourning the Dead Abel_DETAIL 5283-031

Detail of  “Adam and Eve Mourning the Dead Abel”

Antonio Canova. Adam and Eve Mourning the Dead AbelDETAIL 2 5283-031

“The Three Graces”
Antonio Canova, 1812, terracotta, overall: 43 x 24.3 x 17 cm (16 15/16 x 9 9/16 x 6 11/16 in.)
Musée des Beaux-Arts de Lyon, Bequest of Juliette Récamier, 1849.
Image © Lyon MBA – Photo Martial Couderette

Antonio Canova_The Three Graces, 1812_terracotta_Musee des Beaux-Arts de Lyon_100

Detail of  “The Three Graces”

Antonio Canova_The Three Graces,,detail

The Three Graces carved in marble
Antonio Canova,  1813–1816 
The State Hermitage Museum, Saint Petersburg

Antonio Canova, The Three Graces, 1813–1816, marble


 “Pyrrhus Sacrificing Polyxena”
Antonio Canova, c. 1798–1799, terracotta, overall: 28 x 15 x 14 cm (11 x 5 7/8 x 5 1/2 in.)
Museo Gypsotheca Antonio Canova, Possagno. Photographed by Luigi Spina

Antonio Canova. Pyrrhus Sacrificing Polyxena, c. 1798–1799, terracotta_5283-025
Detail of  “Pyrrhus Sacrificing Polyxena”

Antonio Canova. Pyrrhus Sacrificing Polyxena, c. 1798–1799_DETAIL 5283-025

“Satyr and a Nymph” (Cupid and Psyche?)
Antonio Canova, c.1786–1787, terracotta, overall: 16 x 29 x 14 cm (6 5/16 x 11 7/16 x 5 1/2 in.)
Museo Gypsotheca Antonio Canova, Possagno, Photographed by Luigi Spina

Antonio Canova. Satyr and a Nymph (Cupid and Psyche), c. 1786–1787, terracotta_5283-016-alt1

 “Hebe”
Antonio Canova. c.1816, terracotta, overall: 51.5 x 27 x 21 cm (20 1/4 x 10 5/8 x 8 1/4 in.)
Private collection, Courtesy of the Daniel Katz Gallery, London

Antonio Canova. Hebe, c. 1816, terracotta_5283-085

FAITH AND MONUMENTS

 “Immaculate Virgin”
Antonio Canova,  c.1818–1822, terracotta, overall: 48 x 15 x 18 cm (18 7/8 x 5 7/8 x 7 1/16 in.)
Museo Gypsotheca Antonio Canova, Possagno. Photographed by Luigi Spina

Antonio Canova. Immaculate Virgin, c. 1818–1822, terracotta_5283-032
Detail of  “Immaculate Virgin”

Antonio Canova. Immaculate Virgin, c. 1818–1822, terracotta_5283-032-alt1

“Piety” 
Antonio Canova, 1783, terracotta, overall: 38.5 x 11.5 x 10 cm (15 3/16 x 4 1/2 x 3 15/16 in.) 
Private collection. Photographed by Prudence Cuming Fine Art Photography

Antonio Canova. Piety, 1783, terracotta_5283-060

Details of “Piety”

ANTONIO CANOVA montaje dos piedad 1000

 “Humility”
Antonio Canova, 1783, terracotta, overall: 13 x 11 x 9 cm (5 1/8 x 4 5/16 x 3 9/16 in.)
Museo Gypsotheca Antonio Canova, Possagno. Photographed by Luigi Spina

Antonio Canova. Humility, 1783, terracotta

CREATION PROCESS
Canova made increasingly larger models that were cast in plaster. Assistants used
the pointing system to copy plaster into marble, which Canova then finished.

“Penitent Magdalen”
Antonio Canova,1791, terracotta, overall: 15 x 13 x 14.5 cm (5 7/8 x 5 1/8 x 5 11/16 in.)
Musei Civici, Bassano del Grappa. Photographed by Luigi Spina

Antonio Canova. Penitent Magdalen, 1791, terracotta_5283-006

“Penitent Magdalene”
Head

Antonio Canova, c.1794–1809, plaster with pointing marks,
overall: 45 x 40 x 41 cm (17 11/16 x 15 3/4 x 16 1/8 in.)
Museo Gypsotheca Antonio Canova, Possagno. Photographed by Luigi Spina

Antonio Canova. Head of the Penitent Magdalene, c. 1794–1809_5283-033

“Penitent Magdalen”
Antonio Canova, c.1794–1796, marble and gilded bronze, overall: 95 x 70 x 77 cm
(37 3/8 x 27 9/16 x 30 5/16 in.) Musei di Strada Nuova, Genoa © Musei di Strada Nuova

Antonio Canova. Penitent Magdalen, c. 1794–1796, marble and gilded bronze_5283-008_ 2  RET WHITE

CREATION PROCESS
“Religion”
Antonio Canova, c. 1786–1787, terracotta and wood, without cross: 53 x 35 x 26 cm
(20 7/8 x 13 3/4 x 10 1/4 in.) cross: 62 x 22 x 0.5 cm (24 7/16 x 8 11/16 x 3/16 in.)
Galleria dell’Accademia Tadini, Lovere © Fondazione Accademia di belle arti Tadini ONLUS,
Archivio Fotografico, Photographed by Luigi Spina 2022

Antonio Canova. Religion, c. 1786–1787_5283-009

CREATION PROCESS
“Religion”
Head 

Antonio Canova, c.1787–1788, plaster, overall: 115 x 108 x 45 cm (45 1/4 x 42 1/2 x 17 11/16 in.)
Museo Gypsotheca Antonio Canova, Possagno. Photographed by Luigi Spina

Antonio Canova. Head of Religion, c. 1787–1788_5283-034

CREATION PROCESS
“Madame Mère”
(Letizia Ramolino Bonaparte)
Antonio Canova, c.1804–1805, terracotta, overall: 32 x 26 x 15.5 cm (12 5/8 x 10 1/4 x 6 1/8 in.)
Fondazione Querini Stampalia, Venice. hotographed by Luigi Spina

Antonio Canova_Madame Mère_Letizia Ramolino Bonaparte_1805_plaster_5283-035 1000 RET

 “Madame Mère”
(Letizia Ramolino Bonaparte)
Antonio Canova, c.1805, plaster, overall: 67 x 61 x 35 cm (26 3/8 x 24 x 13 3/4 in.)
Museo Gypsotheca Antonio Canova, Possagno. Photographed by Luigi Spina

Antonio Canova. Madame Mère (Letizia Ramolino Bonaparte), c. 1805, plaster-5283-035

 “Madame Mère”
(Letizia Ramolino Bonaparte)
Antonio Canova,1805/1807, marble, overall: 147 x 146.3 x 77 cm (57 7/8 x 57 9/16 x 30 5/16 in.)
The Devonshire Collections, Chatsworth © The Devonshire Collections, Chatsworth, reproduced by
permission of Chatsworth Settlement Trustees/Bridgeman Images

Letitia Ramolino Bonaparte, c.1804-07 (marble)

 “Monument to Titian”
Antonio Canova, 1790/1795, terracotta, overall: 61 x 50 x 14 cm (24 x 19 11/16 x 5 1/2 in.)
Museo Gypsotheca Antonio Canova, Possagno. Photographed by Luigi Spina

Antonio Canova. Monument to Titian, 17901795, terracotta_5283-018

“Monument to Titian”
Antonio Canova, 1790/1795, terracotta, overall: 70 x 69 x 20.5 cm (27 9/16 x 27 3/16 x 8 1/16 in.)
Museo Gypsotheca Antonio Canova, Possagno.
Photographed by Luigi Spina

Antonio Canova.Monument to Titian, 17901795, terracotta_5283-020

“Princess Leopoldina von Esterházy”
Antonio Canova, c.1805–1806, terracotta, overall: 40.5 x 30 x 17 cm (15 15/16 x 11 13/16 x 6 11/16 in.)
Museo Gypsotheca Antonio Canova, Possagno. Photographed by Luigi Spina

Antonio Canova. Princess Leopoldina von Esterházy, c. 1805–1806, terracotta_5283-027-alt1

Detail of  “Princess Leopoldina von Esterházy”

Antonio Canova. Princess Leopoldina von Esterházy, c. 1805–1806, terracotta_5283-027

“Pope Clement XIV”
Antonio Canova, 1783, painted terracotta, overall: 45 x 40 x 24 cm (17 11/16 x 15 3/4 x 9 7/16 in.)
Museo Gypsotheca Antonio Canova, Possagno. Photographed by Luigi Spina

Antonio Canova. Pope Clement XIV, 1783, painted terracotta_5283-012

Detail of  “Pope Clement XIV”

Antonio Canova. Pope Clement XIV, 1783, painted terracotta_DETAIL 5283-012

Canova’s studio in Rome  
Francesco Chiaruttini, View of Antonio Canova’s Studio
in Rome, 1786, pen and wash, Civici Musei, Udine

Sketch models were usually placed on tables or shelves in an artist’s studio. In Canova’s workshop, they would have been visible to his assistants as well as anyone allowed to visit his study or any of the smaller, more private spaces—those rooms where he was most likely to keep intimate objects like small models.

CANOVA STUDIO_Rome_1000

“George Washington”
Antonio Canova, c.1817–1818, plaster, overall: 50 x 30 x 47 cm (19 11/16 x 11 13/16 x 18 1/2 in.)
Museo Gypsotheca Antonio Canova, Possagno. Photographed by Luigi Spina

Antonio Canova. George Washington, c. 1817–1818, plaster_5283-077

“Allegory of Peace”
Antonio Canova, c. 1811–1814, plaster, overall: 73 x 27 x 24 cm (28 3/4 x 10 5/8 x 9 7/16 in.)
Museo Gypsotheca Antonio Canova, Possagno. Photographed by Luigi Spina

Antonio Canova. Allegory of Peace, c. 1811–1814, plaster_5283-078

“Terpsichore Lyran” (Muse of Lyric Poetry)
Antonio Canova, c. 1814–1816, marble, overall: 177.5 x 78.1 x 61 cm (69 7/8 x 30 3/4 x 24 in.)
The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1968.212

https://clevelandart.org/art/1968.212

“Venus”
after Antonio Canova, model 1817/1820

carved c. 1822/1823, marble, overall: 175.26 x 50.8 x 45.72 cm (69 x 20 x 18 in.)
National Gallery of Art, Washington, Corcoran Collection (William A. Clark Collection)

after Antonio Canova_Venus, model 18171820, carved c.1822_1823_ 5283-089

Detail of “Venus”

after Antonio Canova_Venus, model 1817-1820, carved c.1822_1823_ DETAIL 5283-089

PORTRAITS

“Doge Paolo Renier”  
Antonio Canova, 1779, terracotta, overall: 80 x 54 x 22 cm (31 1/2 x 21 1/4 x 8 11/16 in.)
Museo Bottacin – Musei Civici, Padua. Photographed by Luigi Spina

Antonio Canova. Doge Paolo Renier, 1779, terracotta_5283-010-alt1

Detail of  “Doge Paolo Renier” 

Antonio Canova. Doge Paolo Renier, 1779, terracotta_5283-010-alt2

 “Study of a Boy”
Antonio Canova, c.1790–1800, terracotta, overall: 39 x 38 x 16 cm (15 3/8 x 14 15/16 x 6 5/16 in.)
Museo Gypsotheca Antonio Canova, Possagno. Photographed by Luigi Spina

Antonio Canova. Study of a Boy, c. 1790–1800, terracotta_5283-014

Detail of  “Study of a Boy”

Antonio Canova. Study of a Boy, c. 1790–1800, terracotta_5283-014-alt2

Detail of  “Study of a Boy”

Antonio Canova. Study of a Boy, c. 1790–1800, terracotta_5283-014-alt13

 “Character Head”
Antonio Canova, c. 1780, terracotta, overall without base: 9 x 6.5 x 6 cm (3 9/16 x 2 9/16 x 2 3/8 in.)
overall with base: 15 x 7 x 6 cm (5 7/8 x 2 3/4 x 2 3/8 in.) Dino and Raffaello Tomasso

Antonio Canova. Character Head, c. 1780, terracotta_5283-059

“Head of Medusa”
Antonio Canova, c.1797–1800, terracotta, overall: 31 x 36 x 30 cm (12 3/16 x 14 3/16 x 11 13/16 in.)
Museo Gypsotheca Antonio Canova, Possagno. Photographed by Luigi Spina

Antonio Canova. Head of Medusa, c. 1797–1800, terracotta_5283-023-alt1

Detail of  “Head of Medusa”

Antonio Canova. Head of Medusa, c. 1797–1800, terracotta_5283-023

STATEMENTS

By the Curators
C. D. Dickerson III and Emerson Bowyer

Antonio Canova DeETAIL REC_5283-031 “While marble is the material to which his professional reputation has always been tied, the clay models he produced en route to those marbles reveal a completely different side of his creative self”. “Made rapidly, with one quickly following another as he developed his ideas in clay, these sketches could not be more gestural or further removed from his exquisitely refined marbles”.

 

 

Antonio Canova, The Three Graces, 1813–1816, marble REC“Widely admired for embodying an ideal of beauty unrivaled since ancient Greece, his statues were praised for their lifelikeness, especially in the way he could give cold, hard stone the appearance of warm, supple flesh. His treatment of surface was legendary”.
“As his friend Leopoldo Cicognara described, Canova used “kisses and caresses” to wear down the surrounding marble as he worked to reveal a figure”.

 

ANTONIO CANOVA_Cupid-and-Psyche_300 REC (3)“One could always see him investing a passion for the object,” wrote, personal secretary to the elderly Canova, “with alterations to his physiognomy, with tears, with happiness, and with general convulsions of his body.”  “In arguably his most famous statement about sketching, he recommended that artists “conceive with fire and execute with phlegm”—that they not hold back when recording first thoughts, only exercise control when finishing works. In 1768, shortly before dying, he elaborated on why he appreciated sketches so highly”.


ANTONIO CANOVA_Cupid-and-Psyche_300 REC (4)“Canova could hardly have invented a process that drew a more direct line between clay and his finished marbles. It is almost as if he wished he could magically transmute his models straight into hard stone. Instead, he was forced to wrestle with the limitations imposed by pointing, the best system then available to sculptors for copying on a one-toone scale”.

 

 

Letitia Ramolino Bonaparte, c.1804-07 (marble)“Canova masterfully distinguished between different elements of costume and seemingly reveled in the distinctions between flesh and fabric. Her torso, for example, displays multiple finishing techniques. A crisply detailed and polished pin at the shoulders clasps the chiton, which was carved in vibrating parallel rivulets to produce thin shadowed stripes”.

 

Antonio Canova MONTAJE MAGDALENA_300“What, ultimately, was the relationship between Canova’s work in clay and marble?
The two materials could not be more different. One soft, the other hard; one matte and opaque, the other offering more complex lighting effects; one enabling an additive and comparatively quick process, the other subtractive and necessarily more laborious. Clay and marble were the alpha and omega of the sculptor’s practice”.


CANOVA STUDIO_Rome 300-2 RECWhat is more, he almost never parted with his working models, regarding them as an important component of his studio. Throughout his career, he preserved his sketches in the private spaces of his workshop as records of evolving forms that would be realized in marble, and as a wellspring of inspiration and sculptural experimentation.

 


ANTONIO CANOVA_Cupid-and-Psyche_300 REC (1)“By his fifties he could boast of having carved two of the most iconic works in the history of sculpture: Psyche Revived by Cupid’s Kiss for the British aristocrat Colonel John Campbell and The Three Graces for Empress Josephine Bonaparte”.

 

 

monument to Antonio Canova 1“Canova remains the only sculptor in history who was commemorated with a monument during his lifetime”.

 

 

By Kaywin Feldman, director of the National Gallery of Art

Kaywin Feldman bn“While his professional reputation has always been tied to marble, Antonio Canova’s clay models reveal a bold and more expressionistic side to his creative identity,”
“I would like to thank our lenders for their willingness to share their treasured works of art, enabling us to present Canova’s works together”.
“This project would not have been possible without the generosity of the Museo Gypsotheca Antonio Canova in Possagno, where his studio effects—including 36 terracottas—were moved after the artist’s death.”

EXHIBITION CURATORS
The exhibition is curated by C. D. Dickerson III, senior curator of European and American art, National Gallery of Art, and Emerson Bowyer, Searle Curator, Painting and Sculpture of Europe, the Art Institute of Chicago.

EXHIBITION ORGANIZATION AND SUPPORT
The exhibition is organized by the National Gallery of Art, Washington,
and the Art Institute of Chicago.
Major support is provided by the Annenberg Fund for the International Exchange of Art.
Additional support is provided by the Embassy of Italy.
Under the patronage of the National Committee for the Celebration of the Bicentenary of the Death of Antonio Canova, Ministry of Culture, Rome.

CATALOGUE

CANOVA CATALOGUEPublication date: June 6, 2023
Authors: C.D. Dickerson III, Emerson Bowyer
and Anthony Sigel
Publisher: ‎ National Gallery Washington (June 6, 2023)
Language: ‎ English
Hardcover: ‎ 280 pages
ISBN-10: ‎ 0300269757
ISBN-13: ‎ 978-0300269758
Item Weight:‎ 1.74 pounds
$65.00

Published by the National Gallery of Art in association with the Art Institute of Chicago and distributed by Yale University Press, this 280-page illustrated volume with new photography by Luigi Spina explores how and why Canova created clay models. It is the first monograph devoted entirely to the brilliantly expressive clay models that he made in preparation for his idealized and sensual sculptures in marble.
Extensive technical research of about 40 of the 60 or so terracotta models that survive was carried out in conjunction with this exhibition. Findings reveal the steps Canova took in making his models, as well as the tool marks or modeling gestures that distinguish his style.
The authors, with expertise in art history and conservation, focus on Canova’s terracottas, examining his techniques in modeling and in scaling them up to full-size copies that his assistants could reproduce in marble, as well as his practice of gifting them to friends.

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