By Christopher M. S. Johns
The Venetian sculptor Antonio Canova (1757-1822) used to be Europe's so much celebrated artist from the top of the ancien r?gime to the early years of the recovery, an period whilst the conventional courting among consumers and artists replaced vastly. Christopher M. S. Johns's refreshingly unique research explores a overlooked part of Canova's occupation: the consequences of consumers, patronage, and politics on his selection of matters and demeanour of operating. whereas different artists produced artwork within the provider of the kingdom, Canova resisted the blandishments of the political powers that commissioned his works.Johns makes use of letters, diaries, and biographies to set up a political character for Canova as somebody and an artist of overseas recognition. even though he had buyers as assorted because the pope, Napoleon, the Austrian Hapsburgs, the Prince Regent of serious Britain, and the Republic of Venice, Canova remained gradually hired and did so with out controversy. A conservative and a Catholic, he devised a method that enabled him to paintings for purchasers who have been avowed enemies whereas ultimate precise to the cultural and creative historical past of his Italian native land. utilizing delusion and funerary photographs and heading off portraiture, he disguised the meanings in the back of his works and hence refrained from their being pointed out with any political purpose.Johns vastly complements our realizing of Canova's position in ecu artwork and political historical past, and in displaying the effect of censorship, reveal, visible narrative, and propaganda, he highlights concerns as contentious this day as they have been in Canova's time.
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Extra resources for Antonio Canova and the politics of patronage in revolutionary and Napoleonic Europe
Vatican City, Saint Peter's (photo: author) 165 73 Antonio Canova, Venus and Mars, marble, 1816-22. London, Buckingham Palace, Royal Collection (photo: The Royal Collection © Her Majesty Queen Elizabeth II) 166 74 Thomas Lawrence, Portrait of Pope Pius VII, oil on canvas, 1819. Windsor Castle, Waterloo Chamber (photo: The Royal Collection © Her Majesty Queen Elizabeth II) 167 75 Peter Paul Rubens, Peace Halting War, oil on canvas, 1637-38. Florence, Palazzo Pitti (photo: Art Resource) 168 76 Correggio, Madonna and Child with Saint Jerome, oil on panel, ca.
Wright, and my colleague Paul Barolsky has sustained me in ways that the), will never know. My parents, as always, have been my constant source of help. This book has been greatly improved by the suggestions of the anonymous readers' reports and by the intelligent and sensitive editing of the Fine Arts Editor of the University of California Press, Stephanie Fay. My graduate students Andrew Graciano, Tara Zanardi, Sara Durr, and Michael Anderson have come through for me on many occasions, and I am deeply appreciative of their help.
In truth, damage must have been done on both legs of the regrettable journey. In exposing what I believe to be the partisan biases of the historical source materials that form the basis of my argument, I doubtless reveal many of my own, some acknowledged, others unsuspected. Examining a compromised argument, however, is one way of understanding it anew. I deliberately limit myself to discussing monuments commissioned by a few individuals from a single artist, Antonio Canova, for a wide variety of (usually mixed) motives.
Antonio Canova and the politics of patronage in revolutionary and Napoleonic Europe by Christopher M. S. Johns