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475:, which was eventually abandoned by 1795. During the same year, he increased his activity as a painter. Canova was notoriously disinclined to restore sculptures. However, in 1794 he made an exception for his friend and early patron Zulian, restoring a few sculptures that Zulian had moved from Rome to Venice.
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artists buried Canova's name soon after he died, he is slowly being rediscovered. Giuseppe
Pavanello wrote in 1996 that "the importance and value of Canova's art is now recognized as holding in balance the last echo of the Ancients and the first symptom of the restless experimentation of the modern
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together. On 11 July 1819, Canova laid the foundation stone dressed in red Papal uniform and decorated with all his medals. It first opened in 1830, and was finally completed in 1836. After the foundation-stone of this edifice had been laid, Canova returned to Rome; but every succeeding autumn he
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During the last quarter of the eighteenth century, it became fashionable to view art galleries at night by torchlight. Canova was an artist that leapt on the fad and displayed his works of art in his studio by candlelight. As such, Canova would begin to finalize the statue with special tools by
841:. The adventure was disastrous to his health, but soon became healthy enough to return to Rome. From there, he voyaged to Venice; however, on 13 October 1822, he died there at the age of 64. As he never married, the name became extinct, except through his stepbrothers' lineage of Satori-Canova.
1797:
states (p. 441) that Canova left Venice when it fell, tried to escape to
America and then went to Possagno. The fall of Venice was in 1797. There appears to be some gap in knowledge that would correct or amend these accounts. The first reference to Vienna is an online source, the second is the
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Canova refused to take in pupils and students, but would hire workers to carve the initial figure from the marble. According to art historian
Giuseppe Pavanello, "Canova's system of work concentrated on the initial idea, and on the final carving of the marble". He had an elaborate system of
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By 1800, Canova was the most celebrated artist in Europe. He systematically promoted his reputation by publishing engravings of his works and having marble versions of plaster casts made in his workshop. He became so successful that he had acquired patrons from across Europe including
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for the completed work. At the base of the statue, Daedalus' tools are scattered about; these tools are also an allusion to
Sculpture, of which the statue is a personification. With such an intention, there is suggestion that Daedalus is a portrait of Canova's grandfather Pasino.
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candlelight, to soften the transitions between the various parts of the nude. After a little recarving, he began to rub the statue down with pumice stone, sometimes for periods longer than weeks or months. If that was not enough, he would use
1207:. Canova's sculptures fall into three categories: Heroic compositions, compositions of grace, and sepulchral monuments. In each of these, Canova's underlying artistic motivations were to challenge, if not compete, with classical statues.
1152:, the 6th Duke of Bedford, commissioned a version of the now famous work. He had previously visited Canova in his studio in Rome in 1814 and had been immensely impressed by a carving of the Graces the sculptor had made for the Empress
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comparative pointing so that the workers were able to reproduce the plaster form in the selected block of marble. These workers would leave a thin veil over the entire statue so Canova's could focus on the surface of the statue.
434:. Zulian played a fundamental role in Canova's rise to fame, turning some rooms of his palace into a studio for the artist and placing his trust in him despite Canova's early critics in Rome. The statue depicts the victorious
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had its inception after Canova was hired to make a bust of
Napoleon in 1802. The statue was begun in 1802, with Napoleon requesting to be shown in a French General's uniform, Canova rejected this, insisting on an allusion to
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had its inception after Canova was hired to make a bust of
Napoleon in 1802. The statue was begun in 1803, with Napoleon requesting to be shown in a French General's uniform, Canova rejected this, insisting on an allusion to
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to Pietro Canova, a stonecutter, and Angela Zardo
Fantolin. In 1761, his father died. A year later, his mother remarried. As such, in 1762, he was put into the care of his paternal grandfather Pasino Canova, who was a
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The polish throws upon the parts which are lighted so great brilliancy as frequently to make invisible the most laborious diligence; it cannot be seen, because the strong reflected light dazzles the eyes
442:. The initial spectators were certain that the work was a copy of a Greek original, and were shocked to learn it was a contemporary work. The highly regarded work is now in the collection of the
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974:. It was completed in 1806. In 1811, the statue arrived in Paris, but not installed; neither was its bronze copy in the Foro Napoleonico in Milan. In 1815, the original went to
580:. It was completed in 1806. In 1811, the statue arrived in Paris, but not installed; neither was its bronze copy in the Foro Napoleonico in Milan. In 1815, the original went to
743:. Canova designed, financed, and partly built the structure himself. The structure was to be a testament to Canova's piety. The building's design was inspired by combining the
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During the period that intervened between commencing operations at
Possagno and his death, he executed or finished some of his most striking works. Among these were the group
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349:. Widely praised, the works won Canova his first renown among the Venetian elite. Another Venetian who is said to have commissioned early works from Canova was the abate
929:. It is regarded as a masterpiece of Neoclassical sculpture, but shows the mythological lovers at a moment of great emotion, characteristic of the emerging movement of
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Napoleon ordered it for the Corso in Milan; Emperor Franz I bought it for the
Theseus Temple in the Volksgarten in Vienna; moved to Kunsthistorisches Museum in 1891.
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said of the statue that "every eye must rest with pleasure on the beautiful surface, even when the mind finds its hopes of high and pure enjoyment disappointed."
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In 1816, Canova returned to Rome with some of the art
Napoleon had taken. He was rewarded with several marks of distinction: he was appointed President of the
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Canova had a distinct, signature style in which he combined Greek and Roman art practices with early stirrings of romanticism to delve into a new path of
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If one could make statues by caressing marble, I would say that this statue was formed by wearing out the marble that surrounded it with caresses and kiss
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and his family, for whom Canova produced much work, including several depictions between 1803 and 1809. The most notable representations were that of
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1156:. When the Empress died in May of the same year he immediately offered to purchase the completed piece, but was unsuccessful as Josephine's son
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282:, and was a "sculptor who specialized in altars with statues and low reliefs in late Baroque style". He led Antonio into the art of sculpting.
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Satish Padiyar, Chains: David, Canova, and the Fall of the Public Hero in Postrevolutionary France. Pennsylvania State University Press, 2007.
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In 1815, he was named 'Minister Plenipotentiary of the Pope,' and was tasked with recovering various works of art that were taken to Paris by
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Before the age of ten, Canova began making models in clay, and carving marble. Indeed, at the age of nine, he executed two small shrines of
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In 1802, Canova was assigned the post of 'Inspector-General of Antiquities and Fine Art of the Papal State', a position formerly held by
2970:, a catalog from The Metropolitan Museum of Art Libraries (fully available online as PDF), which contains material on Canova (see index)
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457:. After another two years, the work met completion in 1787. The monument secured Canova's reputation as the pre-eminent living artist.
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322:. At the academy, he won several prizes. During this time, he was given his first workshop within a monastery by some local monks.
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2556:"Antonio Canova: Perseus with the Head of Medusa (67.110.1) – Heilbrunn Timeline of Art History – The Metropolitan Museum of Art"
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Oskar Batschmann, The Artist in the Modern World: A Conflict Between Market and Self-Expression. DuMont Bunchverlag, 1997. Print.
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onto the flesh of the figure to lighten the skin tone. Importantly, his friends also denied any usage of acids in his process.
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Paris, Rita, "Appia, una questione non risolta" in "La via Appia, il bianco e il nero di un patrimonio italiano." Electa. 2011
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for a pension. Successful in the application, the stipend allotted amounted to three hundred ducats, limited to three years.
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The sculpting process began in 1814 and was completed in 1817. Finally in 1819 it was installed at the Duke's residence in
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Canova spent large parts of his fortune helping young students and sending patrons to struggling sculptors, including Sir
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His memorial service was so grand that it rivaled the ceremony that the city of Florence held for Michelangelo in 1564.
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sold Canova's Roman studio and took every plaster model and sculpture to Possagno, where they were installed in the
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The Lustrous Trade: Material Culture and the History of Sculpture in England and Italy, c. 1700–c. 1860
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1179:. Canova even made the trip over to England to supervise its installation, choosing for it to be displayed on a
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623:. Instead, Pauline ordered Canova to make the statue a nude Venus. The work was not intended for public viewing.
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289:, which are still extant. After these works, he appears to have been constantly employed under his grandfather.
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On 12 October 1822, Canova instructed his brother to use his entire estate to complete the Tempio in Possagno.
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715:, inscribed into the "Golden Book of Roman Nobles" by the Pope's own hands, and given the title of Marquis of
541:, as well as several members from different royal lineages, and prominent individuals. Among his patrons were
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La storia del Palazzo di Venezia dalle collezioni Barbo e Grimani a sede dell'ambasciata veneta e austriaca
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Conversations revolving around the justification of art as superfluous usually invoked the name of Canova.
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In 1822, he journeyed to Naples, to superintend the construction of wax moulds for an equestrian statue of
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ranks among the most famous of Canova's works. Originally, Canova wished the depiction to be of a robed
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Other works for the Napoleon family include, a bust of Napoleon, a statue of Napoleon's mother, and
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337:. The statues were begun in 1775, and both were completed by 1777. The pieces exemplify the late
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where it was displayed were later destroyed by fire in 1831. A plaster replica was sent by King
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Between 1783 and 1785, Canova arranged, composed, and designed a funerary monument dedicated to
376:. The statue inspired great admiration for his work at the annual art fair; Canova was paid 100
225:. Often regarded as the greatest of the Neoclassical artists, his sculpture was inspired by the
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On 25 October 1822, his body was placed in the Tempio Canoviano. His heart was interred at the
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by restoring the tomb of Servilius Quartus. In 1808 Canova became an associated member of the
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was rejected, Canova sought to build his own temple to house it. This project came to be the
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In 1779, Canova opened his own studio at Calle Del Traghetto at S. Maurizio,. At this time,
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468:. Canova harmonized its design with the older Baroque funerary monuments in the basilica.
8:
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The Smith College Museum of Art: European and American Painting and Sculpture, 1760-1960
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has proven itself more accurate, but it is undated, leaving speculation of time frame.
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1015:, was a statue commissioned by tribune Onorato Duveyriez. It depicts the Greek hero
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Antonia Canova and the Politics of Patronage in Revolutionary and Napoleonic Europe
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Antonio Canova and the Politics of Patronage in Revolutionary and Napoleonic Europe
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continued to visit Possagno to direct the workmen and encourage them with rewards.
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insisted to appear as a nude Venus. The work was not intended for public viewing.
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While he worked, he had people read to him select literary and historical texts.
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in the height of love and tenderness, immediately after awakening the lifeless
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641:. One of his activities in this capacity was to pioneer the restoration of the
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Pietro Vettor Pisani commissioned Canova's first marble statue: a depiction of
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One replica of the statue was commissioned from Canova by the Polish countess
393:, on 28 December 1780. Prior to his departure, his friends had applied to the
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314:, who was also known as 'Torretto'. Afterwards, he was under the tutelage of
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1269:. Canova was faulted for creating works that were artificial in complexity.
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The works of Phidias are truly flesh and blood, like beautiful nature itself
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and the classical revival, and has been characterised as having avoided the
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2872:, vol. 5 (11th ed.), Cambridge University Press, pp. 204–206
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Commemorative plaque at the place of life and death of Antonio Canova, in
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The fall of Venice occurred in 1797 but was then ceded later to Austria.
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1322:. Other works, including plaster casts are the Museo Canoviano in Asolo.
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emphasis seemed to have been placed on agreeableness rather than Beauty
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The following decade was extremely productive, beginning works such as
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After his 1814 proposal to build a personified statue of Religion for
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The Senator Giovanni Falier commissioned Canova to produce statues of
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as a model. It was delivered on 24 December 1821. The statue and the
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While in Rome, Canova spent time studying and sketching the works of
341:. On the year of their completion, both works were exhibited for the
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2482:"George Washington Sculpture, North Carolina State Capitol, Raleigh"
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A number of his works, sketches, and writings are collected in the
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This article incorporates text from a publication now in the
1172:). Undeterred, the Duke commissioned another version for himself.
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were acquired by the British Museum, with plaster copies sent to
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In 1792, he completed another cenotaph, this time commemorating
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with a rotating top. This version is now owned jointly by the
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was originally conceived as a robed and recumbent sculpture of
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Members of the Royal Netherlands Academy of Arts and Sciences
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Landon, Letitia Elizabeth (1833). "poetical illustration".
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Landon, Letitia Elizabeth (1833). "poetical illustration".
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1851:"Antonio Canova, marchese d'Ischia | Italian sculptor"
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428:– the Venetian ambassador to Rome – hired Canova to sculpt
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In 1819, he commenced and completed his commissioned work
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Victoria & Albert Museum, 2013. Retrieved 2 May 2013.
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which has already proven itself incorrect in some areas.
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in Venice, and his right hand preserved in a vase at the
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of the former, and the cold artificiality of the latter.
2309:"Biography of CANOVA, Antonio in the Web Gallery of Art"
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s pedestal. The statue was so successful that when the
2412:"Paolina Borghese as Venus Victrix by CANOVA, Antonio"
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Antonio Canova from the studio of Canova, c. 1813
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He then applied a now unknown chemical-composition of
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Royal Institute of Sciences, Literature and Fine Arts
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In 1790, he began to work on a funerary monument for
2605:"Perseus with the Head of Medusa by CANOVA, Antonio"
2587:"Perseus with the Head of Medusa by CANOVA, Antonio"
2576:. University of California Press, 1998. Web. – p. 25
2387:"Napoleon as Mars the Peacemaker by CANOVA, Antonio"
2362:"Napoleon as Mars the Peacemaker by CANOVA, Antonio"
1940:
The Glory of Venice: Art in the Eighteenth Century.
2250:"Antonio Canova: Neoclassical Sculptor, Biography"
1795:The Glory of Venice: Art in the Eighteenth Century
3108:Tomb of Duchess Maria Christina of Saxony-Teschen
2967:Europe in the age of enlightenment and revolution
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508:, but only a year later, in 1798, he returned to
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2837:, vol. 3, New York: Robert Appleton Company
2662:. United States: Hudson Hill Press. p. 22.
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2441:. Royal Netherlands Academy of Arts and Sciences
120:Austria (territory ceded to Austria) (1798–1805)
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771:, and a colossal bust of his friend, the Count
719:, alongside an annual pension of 3,000 crowns.
310:In 1770, he was an apprentice for two years to
2268:"Tomb of Pope Clement XIII by CANOVA, Antonio"
1341:Two of Canova's works appear as engravings in
258:The Child Canova Modeling a Lion Out of Butter
3144:Napoleon as Mars the Peacemaker (bronze cast)
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2890:Turner, Jane, ed. (1996b), "Antonio Canova",
2803:Landon, Letitia Elizabeth (1833). "picture".
2768:Landon, Letitia Elizabeth (1833). "picture".
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2155:"Theseus and the Minotaur by CANOVA, Antonio"
695:. It was after the advice of Canova that the
30:"Canova" redirects here. For other uses, see
2926:, vol. 5 (9th ed.), pp. 24–26
2877:Turner, Jane, ed. (1996a), "Neo-Classical",
1875:"Canòva, Antonio nell'Enciclopedia Treccani"
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214:; 1 November 1757 – 13 October 1822) was an
830:in 1970, now on view in the rotunda of the
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2683:Sicca, Cinzia; Yarrington, Alison (2001).
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1740:Basilica di Santa Maria Gloriosa dei Frari
849:Basilica di Santa Maria Gloriosa dei Frari
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3357:Burials at Santa Maria Gloriosa dei Frari
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1307:He was introduced into various orders of
494:Duchess Maria Christina of Saxony-Teschen
27:Italian Neoclassical sculptor (1757–1822)
3120:Funerary monument for Titian (abandoned)
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2134:"Daedalus and Icarus by CANOVA, Antonio"
2116:"Daedalus and Icarus by CANOVA, Antonio"
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265:In 1757, Antonio Canova was born in the
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892:Among Canova's most notable works are:
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2989:Canova 2009 Exhibition in Forlì, Italy
2984:Canova museum and plaster cast gallery
2806:Fisher's Drawing Room Scrap Book, 1834
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2797:Fisher's Drawing Room Scrap Book, 1834
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2780:Fisher's Drawing Room Scrap Book, 1834
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2771:Fisher's Drawing Room Scrap Book, 1834
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1938:Jean Martineau & Andrew Robinson,
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2217:La caduta della repubblica di Venezia
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2015:
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333:for his garden – the Villa Falier at
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3347:Artists of the Boston Public Library
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787:, plaster replica on display at the
3312:People from the Province of Treviso
2744:Gazetteer of Planetary Nomenclature
1942:Yale University Press, 1994. Print.
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1168:, where it can now be found in the
1051:to Paris. In the statue's absence,
1029:The statue was based freely to the
24:
3221:Equestrian statue of Ferdinand VII
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2461:"Venus Italica by CANOVA, Antonio"
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1320:Museo Civico of Bassano del Grappa
853:Accademia di Belle Arti di Venezia
320:Accademia di Belle Arti di Venezia
318:until he began his studies at the
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1265:enough in his aesthetic, because
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438:seated on the lifeless body of a
2979:Canova's death mask at Princeton
2897:, New York: Grove's Dictionaries
2884:, New York: Grove's Dictionaries
2842:
2831:, in Herbermann, Charles (ed.),
1837:Encyclopedia Britannica - Venice
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1761:Antonio Canova medal by Putinati
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1343:Fisher's Drawing Room Scrap Book
1162:Maximilian, Duke of Leuchtenberg
826:. A marble copy was sculpted by
824:North Carolina Museum of History
789:North Carolina Museum of History
3137:Napoleon as Mars the Peacemaker
2787:
2761:
2732:
2703:
2676:
2651:
2639:
2597:
2579:
2566:
2527:
2504:North Carolina State University
2492:
2453:
2431:
2422:
2278:
2260:
2242:
2126:
2087:
1809:
1788:
1773:Antonio Canova's funeral mask,
1603:Napoleon as Mars the Peacemaker
1071:remained as a companion piece.
1013:Perseus with the Head of Medusa
1003:Perseus with the Head of Medusa
959:Napoleon as Mars the Peacemaker
954:Napoleon as Mars the Peacemaker
946:Napoleon as Mars the Peacemaker
565:Napoleon as Mars the Peacemaker
548:Napoleon as Mars the Peacemaker
167:Napoleon as Mars the Peacemaker
3332:19th-century Italian sculptors
3322:18th-century Italian sculptors
3097:Psyche Revived by Cupid's Kiss
2941:, London (2000). One of three
2522:University of California Press
1867:
1842:
1829:
1441:Psyche Revived by Cupid's Kiss
1424:Psyche Revived by Cupid's Kiss
1378:Aeroporto di Treviso A. Canova
1193:National Galleries of Scotland
923:Psyche Revived by Cupid's Kiss
918:Psyche Revived by Cupid's Kiss
910:Psyche Revived by Cupid's Kiss
897:Psyche Revived by Cupid's Kiss
153:Psyche Revived by Cupid's Kiss
13:
1:
3215:Monument to the Royal Stuarts
2974:Antonio Canova: Photo Gallery
2077:"Eurydice by CANOVA, Antonio"
1822:
1800:Encyclopædia Britannica, 1911
1261:believed that Canova was not
1252:
1217:
1059:and placed the work upon the
3317:Republic of Venice sculptors
2689:. A&C Black. p. 9.
2486:University of North Carolina
2095:"Orpheus by CANOVA, Antonio"
1473:Theseus Fighting the Centaur
1444:, 1787–1793, Louvre (detail)
1078:; it's now displayed in the
925:was commissioned in 1787 by
822:in 1910, now on view at the
820:Victor Emmanuel III of Italy
444:Victoria & Albert Museum
39:Antonio Cánovas del Castillo
7:
2958:, New York (2009). Part of
1019:after his victory over the
861:In 1826, Giovanni Battista
796:statue of George Washington
243:
211:[anˈtɔːnjokaˈnɔːva]
10:
3378:
3167:Statue of Letizia Ramolino
2956:Metropolitan Museum of Art
2939:Victoria and Albert Museum
2817:
2658:Leshko J, Davis J (2000).
2214:Dandolo, Girolamo (1855).
1742:, designed by Canova as a
1738:Monument to Canova in the
1725:Maria Christina of Austria
1706:Maria Christina of Austria
1533:Metropolitan Museum of Art
1496:The State Hermitage Museum
1456:Antonio Canova, Detail of
1396:
1228:Johann Joachim Winckelmann
1189:Victoria and Albert Museum
1142:
1102:
1080:Metropolitan Museum of Art
951:
915:
816:North Carolina State House
418:Victoria and Albert Museum
36:
29:
3352:19th-century male artists
3267:
3260:
3233:
3192:
3184:Tomb of Servilius Quartus
3128:
3086:Cenotaph for Clement XIII
3059:
3038:
3031:
2912:Rossetti, William Michael
2856:Rossetti, William Michael
2572:Christopher M. S. Johns,
1678:Tomb of Clement XIII
1272:
1145:The Three Graces (Canova)
933:. It represents the god
808:marble bust of Washington
759:, the colossal figure of
728:as a replacement for the
687:Also in 1815, he visited
292:
190:
142:
134:
111:
89:
67:
55:
48:
3075:Tomb of Pope Clement XIV
3068:Theseus and the Minotaur
1781:
1723:Panorama of Cenotaph to
1691:Tomb of Pope Clement XIV
1666:Monument to Pius VI
1477:Kunsthistorisches Museum
1347:Letitia Elizabeth Landon
1333:was named in his honor.
887:
882:Rio Orseolo o del Corval
806:, the sculptor used the
598:Joséphine de Beauharnais
455:Church of Santi Apostoli
431:Theseus and the Minotaur
413:Theseus and the Minotaur
37:Not to be confused with
2923:Encyclopædia Britannica
2892:The Dictionary of Art,
2879:The Dictionary of Art,
2869:Encyclopædia Britannica
2809:. Fisher, Son & Co.
2800:. Fisher, Son & Co.
2783:. Fisher, Son & Co.
2774:. Fisher, Son & Co.
2439:"A. Canova (1757–1822)"
2286:"Sculptures until 1799"
1839:. Accessed 14 May 2018.
1371:Via Antonio Canova, in
978:, after his victory at
669:under the terms of the
584:, after his victory at
557:which was portrayal of
384:
253:Pinckney Marcius-Simons
238:
32:Canova (disambiguation)
3337:Neoclassical sculptors
3327:Italian male sculptors
2945:photos by ketrin 1407.
2917:"Antonio Canova"
2828:"Antonio Canova"
1580:The Penitent Magdalene
1552:(Muse of Lyric Poetry)
1514:, 1814–1817, Hermitage
1285:
1231:
1183:adapted from a marble
1140:
1105:Venus Victrix (Canova)
1005:
976:the Duke of Wellington
913:
884:
791:
685:
671:Treaty of Paris (1815)
656:In 1814, he began his
608:
582:the Duke of Wellington
499:The Penitent Magdalene
421:
353:, whose collection at
343:Feast of the Ascension
307:
262:
207:Italian pronunciation:
2834:Catholic Encyclopedia
2516:Johns, C.M.S. (1998)
1652:Santa Croce, Florence
1337:Literary inspirations
1280:
1236:tripoli (rottenstone)
1221:
1158:Eugène de Beauharnais
1134:
1045:1796 Italian Campaign
1000:
927:Colonel John Campbell
906:
879:
781:
713:Accademia di San Luca
675:
590:
410:
300:
251:
219:Neoclassical sculptor
3046:Orpheus and Eurydice
2535:"Perseus Triumphant"
2254:visual-arts-cork.com
2222:University of Oxford
1367:Canova, South Dakota
1160:claimed it (his son
802:. As recommended by
737:St. Peter's Basilica
504:In 1797, he went to
466:St. Peter's Basilica
3091:Hercules and Lichas
3051:Daedalus and Icarus
2714:www.gibson-trail.uk
2711:"John Gibson R. A."
2500:"The Canova Statue"
2063:, pp. 204–206.
1804:The Glory of Venice
1646:Monumental tomb of
1584:Palazzo Doria-Tursi
1531:, c. 1822–23,
1427:, 1787–1793, Louvre
1011:, sometimes called
794:In 1820, he made a
480:Hercules and Lichas
62:Self-portrait, 1792
3157:Perseus Triumphant
3129:France (1800-1815)
3114:Penitent Magdalene
3039:Venice (1770-1780)
2962:set by ketrin1407.
2951:Perseus and Medusa
1565:Perseus Triumphant
1298:Richard Westmacott
1286:
1259:Karl Ludwig Fernow
1141:
1090:Karl Ludwig Fernow
1057:Perseus Triumphant
1055:acquired Canova's
1009:Perseus Triumphant
1006:
991:Perseus Triumphant
914:
885:
792:
773:Leopoldo Cicognara
707:Returning to Italy
651:Kingdom of Holland
588:against Napoleon.
516:France and England
422:
389:Canova arrived in
308:
263:
116:Republic of Venice
83:Republic of Venice
3284:
3283:
3280:
3279:
3256:
3255:
3241:Italy (1816-1822)
3229:
3228:
3208:George Washington
3193:Italy (1816-1822)
2646:The Three Graces.
1633:Galleria Borghese
1623:Pauline Bonaparte
1076:Waleria Tarnowska
812:Giuseppe Ceracchi
798:for the state of
784:George Washington
559:Pauline Bonaparte
312:Giuseppe Bernardi
267:Venetian Republic
223:marble sculptures
221:, famous for his
200:
199:
181:George Washington
16:(Redirected from
3369:
3265:
3264:
3248:Tempio Canoviano
3238:
3237:
3178:The Three Graces
3162:Bust of Napoleon
3060:Rome (1780-1797)
3036:
3035:
3018:
3011:
3004:
2995:
2994:
2935:(second version)
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2759:
2758:
2756:
2754:
2736:
2730:
2729:
2727:
2725:
2720:on 24 March 2022
2716:. Archived from
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2701:
2700:
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2673:
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2649:
2643:
2637:
2634:
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2594:
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2563:
2552:
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2542:
2531:
2525:
2520:. Berkeley, CA:
2514:
2508:
2507:
2496:
2490:
2489:
2488:. 19 March 2010.
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2186:. 2015. p.
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1746:for the painter
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1710:Augustinerkirche
1701:
1687:
1675:
1663:
1648:Vittorio Alfieri
1643:
1619:
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1561:
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1523:
1511:The Three Graces
1506:
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1419:
1407:
1390:Tempio Canoviano
1351:The Dancing Girl
1283:Tempio Canoviano
1229:
1199:Artistic process
1170:Hermitage Museum
1137:The Three Graces
1125:The Three Graces
1118:Pauline Borghese
1049:Apollo Belvedere
1035:Medusa Rondanini
1031:Apollo Belvedere
871:Tempio Canoviano
832:capitol building
804:Thomas Jefferson
741:Tempio Canoviano
730:Venus de' Medici
683:
659:The Three Graces
619:in the guise of
617:Pauline Borghese
606:
484:Cupid and Psyche
351:Filippo Farsetti
347:Piazza San Marco
316:Giovanni Ferrari
213:
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160:The Three Graces
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123:Kingdom of Italy
105:Lombardy–Venetia
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2860:Canova, Antonio
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1349:. These are of
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1290:Romantic period
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693:Benjamin Haydon
691:, and met with
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426:Girolamo Zulian
395:Venetian Senate
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1166:St. Petersburg
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1103:Main article:
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1067:was returned,
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757:Mars and Venus
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2669:9781555951948
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2235:9781841717913
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2197:9788849293661
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2100:
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2090:
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2062:
2061:Rossetti 1911
2057:
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2049:
2047:
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2041:
2039:
2037:
2035:
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2021:
2016:
2014:
2012:
2010:
2008:
2006:
2004:
2002:
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1998:
1996:
1988:
1983:
1981:
1979:
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1941:
1935:
1933:
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1927:
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1915:
1913:
1911:
1909:
1907:
1899:
1894:
1892:
1877:, Treccani.it
1876:
1870:
1856:
1852:
1845:
1838:
1832:
1828:
1812:
1805:
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1631:, now at the
1630:
1629:
1628:Venus Victrix
1624:
1618:
1613:
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1604:
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1570:
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1530:
1529:
1528:Venus Italica
1522:
1517:
1513:
1512:
1505:
1500:
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1494:, 1811–1812,
1493:
1487:
1482:
1478:
1475:(1804–1819),
1474:
1468:
1463:
1459:
1458:Venus Italica
1452:
1447:
1443:
1442:
1435:
1430:
1426:
1425:
1418:
1413:
1406:
1401:
1400:
1392:, in Possagno
1391:
1388:
1385:
1381:
1379:
1376:
1374:
1370:
1368:
1365:
1364:
1358:
1356:
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1328:
1323:
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1317:
1312:
1310:
1305:
1303:
1299:
1294:
1291:
1288:Although the
1284:
1279:
1270:
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1264:
1260:
1250:
1248:
1243:
1241:
1237:
1224:
1215:
1212:
1208:
1206:
1205:Neoclassicism
1196:
1194:
1190:
1186:
1182:
1178:
1173:
1171:
1167:
1163:
1159:
1155:
1151:
1146:
1139:
1138:
1133:
1126:
1121:
1119:
1115:
1111:
1110:Venus Victrix
1106:
1098:
1097:Venus Victrix
1093:
1091:
1087:
1085:
1084:New York City
1081:
1077:
1072:
1070:
1066:
1062:
1058:
1054:
1053:Pope Pius VII
1050:
1046:
1042:
1038:
1036:
1032:
1027:
1025:
1022:
1018:
1014:
1010:
1004:
999:
992:
987:
985:
981:
977:
973:
969:
965:
960:
955:
947:
942:
941:with a kiss.
940:
936:
932:
928:
924:
919:
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911:
905:
898:
893:
883:
878:
874:
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864:
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839:Ferdinand VII
835:
833:
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821:
817:
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738:
733:
731:
727:
726:
725:Venus Italica
720:
718:
714:
704:
702:
698:
697:Elgin Marbles
694:
690:
678:
674:
672:
668:
663:
661:
660:
654:
652:
648:
644:
640:
635:
633:
629:
624:
622:
618:
614:
613:
612:Venus Victrix
605:
604:
603:Venus Victrix
599:
593:
589:
587:
583:
579:
575:
571:
566:
562:
560:
556:
555:
554:Venus Victrix
550:
549:
544:
540:
536:
532:
528:
524:
513:
511:
507:
502:
500:
496:
495:
489:
485:
481:
476:
474:
469:
467:
463:
458:
456:
452:
447:
446:, in London.
445:
441:
437:
433:
432:
427:
419:
415:
414:
409:
405:
403:
398:
396:
392:
382:
379:
378:gold zecchini
375:
371:
367:
362:
360:
356:
352:
348:
344:
340:
336:
332:
328:
323:
321:
317:
313:
305:
304:
299:
290:
288:
283:
281:
278:, owner of a
277:
272:
268:
260:
259:
254:
250:
236:
234:
232:
231:melodramatics
228:
224:
220:
217:
212:
204:
196:
195:Neoclassicism
193:
189:
183:
182:
178:
176:
175:
174:Venus Victrix
171:
169:
168:
164:
162:
161:
157:
155:
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149:
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137:
133:
129:
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117:
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110:
106:
102:
92:
88:
84:
80:
70:
66:
59:
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44:
40:
33:
19:
3272:Museo Canova
3220:
3213:
3206:
3199:
3183:
3176:
3171:
3166:
3161:
3156:
3149:
3142:
3135:
3119:
3112:
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3102:
3095:
3090:
3085:
3080:
3073:
3066:
3050:
3045:
3024:
2966:
2950:
2933:Three Graces
2932:
2921:
2895:
2891:
2882:
2878:
2867:
2832:
2805:
2796:
2789:
2779:
2770:
2763:
2751:. Retrieved
2743:
2734:
2722:. Retrieved
2718:the original
2713:
2705:
2685:
2678:
2659:
2653:
2641:
2608:
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2590:
2581:
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2568:
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2443:. Retrieved
2433:
2424:
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2289:
2280:
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2253:
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2137:
2128:
2119:
2098:
2089:
2080:
2020:Handley 1908
1987:Turner 1996b
1939:
1898:Turner 1996a
1879:, retrieved
1869:
1858:, retrieved
1854:
1844:
1831:
1811:
1803:
1799:
1794:
1790:
1775:Museo Correr
1704:Cenotaph to
1626:
1608:Apsley House
1601:
1579:
1564:
1546:
1526:
1509:
1491:
1472:
1457:
1439:
1422:
1384:Museo Canova
1354:
1350:
1342:
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1313:
1306:
1295:
1287:
1256:
1244:
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1177:Woburn Abbey
1174:
1150:John Russell
1148:
1135:
1124:
1109:
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1096:
1088:
1073:
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1064:
1060:
1056:
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1039:
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1007:
1002:
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984:Apsley House
958:
957:
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657:
655:
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628:Marie Louise
625:
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609:
601:
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564:
563:
552:
546:
519:
512:for a year.
503:
498:
491:
487:
483:
479:
477:
470:
462:Clement XIII
459:
448:
430:
423:
411:
402:Michelangelo
399:
388:
363:
355:Ca' Farsetti
339:Rococo style
324:
309:
301:
284:
264:
256:
235:
202:
201:
179:
172:
165:
158:
151:
144:Notable work
125:(1805–1814)
95:(1822-10-13)
43:
3307:1822 deaths
3302:1757 births
1548:Terpsichore
1386:in Possagno
1325:In 2018, a
1302:John Gibson
1127:(1814–1817)
1099:(1805–1808)
1047:, took the
993:(1804–1806)
948:(1802–1806)
931:Romanticism
867:gypsotheque
451:Clement XIV
359:Grand Canal
130:(1814–1822)
118:(1757–1798)
112:Nationality
3291:Categories
2539:vatican.va
2224:. p.
1823:References
1281:Facade of
1253:Criticisms
1218:Last touch
1001:Detail of
907:Detail of
828:Romano Vio
643:Appian Way
366:Procurator
276:stonemason
3234:Buildings
3172:Concordia
3032:Sculpture
2949:Canova's
2931:Canova's
2894:Vol. XXII
2881:Vol. XXII
2858:(1911), "
2524:, p. 149.
2445:5 October
1744:mausoleum
1567:, Vatican
1154:Joséphine
968:Roman god
745:Parthenon
632:Concordia
574:Roman god
424:In 1781,
261:, c. 1885
138:Sculpture
2914:(1878),
2740:"Canova"
1610:, London
1479:, Vienna
1309:chivalry
1226:—
1191:and the
1181:pedestal
1041:Napoleon
1033:and the
980:Waterloo
749:Pantheon
747:and the
701:Florence
680:—
667:Napoleon
595:—
586:Waterloo
543:Napoleon
510:Possagno
492:Tomb of
453:for the
440:Minotaur
420:, London
370:Daedalus
331:Eurydice
271:Possagno
269:city of
244:Possagno
191:Movement
79:Possagno
3261:Museums
2954:in the
2937:in the
2866:(ed.),
2853::
2818:Sources
2226:208–211
2184:Gangemi
1881:1 April
1860:1 April
1708:in the
1397:Gallery
1373:Treviso
1331:Mercury
1318:of the
1263:Kantian
1069:Perseus
1061:Apollo'
1017:Perseus
869:of the
863:Sartori
769:St John
761:Pius VI
649:of the
639:Raphael
600:on the
539:Holland
535:Austria
527:England
436:Theseus
357:on the
327:Orpheus
303:Orpheus
227:Baroque
216:Italian
2960:Flickr
2943:Flickr
2862:", in
2847:
2753:23 May
2724:8 June
2693:
2666:
2609:wga.hu
2591:wga.hu
2465:wga.hu
2416:wga.hu
2391:wga.hu
2366:wga.hu
2313:wga.hu
2290:wga.hu
2272:wga.hu
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2159:wga.hu
2138:wga.hu
2120:wga.hu
2099:wga.hu
2081:wga.hu
1748:Titian
1654:, 1810
1492:Dancer
1327:crater
1293:age".
1273:Legacy
1247:patina
1185:plinth
1116:, but
1065:Apollo
1024:Medusa
1021:Gorgon
966:, the
939:Psyche
899:(1787)
767:, the
763:, the
717:Ischia
689:London
572:, the
551:, and
531:Russia
523:France
506:Vienna
497:, and
473:Titian
374:Icarus
306:, 1777
293:Venice
280:quarry
101:Venice
18:Canova
2188:60–61
1782:Notes
1588:Genoa
1550:Lyran
1114:Diana
935:Cupid
888:Works
765:Pietà
621:Diana
335:Asolo
3103:Hebe
2755:2021
2748:NASA
2726:2017
2691:ISBN
2664:ISBN
2447:2016
2230:ISBN
2192:ISBN
1883:2017
1862:2017
1382:The
1355:Hebe
1353:and
1300:and
1240:lead
1238:and
964:Mars
570:Mars
537:and
488:Hebe
464:for
391:Rome
385:Rome
372:and
329:and
239:Life
90:Died
68:Born
1625:as
1329:on
1082:in
972:War
970:of
810:by
630:as
578:War
576:of
345:in
3293::
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1994:^
1947:^
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1890:^
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