A History of Sculptures : The Sublime Craft of Antonio Canova: Resurrecting Classical Beauty in Marble

Thursday, May 23, 2024

The Sublime Craft of Antonio Canova: Resurrecting Classical Beauty in Marble

The love affair between Cupid and Psyche is one of the most enchanting narratives from classical mythology, immortalized in Apuleius's *The Golden Ass*. This story has inspired countless works of art, none more poignant than Antonio Canova’s masterpiece, *Psyche Revived by Cupid's Kiss*. Canova, an Italian sculptor of the late eighteenth and early nineteenth centuries, is celebrated for his role in revitalizing Neoclassical sculpture, blending sensuality and classical ideals in ways that both enchanted and polarized his contemporaries.

Antonio Canova was born in 1757 in Possagno, a small town in northern Italy, into a family of sculptors and stonecutters. From an early age, he displayed a prodigious talent for sculpture, allegedly carving a lion from butter at a dinner party, a tale which, though likely apocryphal, underscores his precocious skill. By fourteen, Canova was apprenticed to Giuseppe Bernardi, a prominent sculptor, and later worked under Giovanni Ferrari in Venice. Here, he encountered the classical forms that would shape his artistic vision, particularly through the collection of Filippo Farsetti, whose plaster casts of ancient sculptures profoundly influenced him.

Canova's first major works, such as *Eurydice and Orpheus* and *Daedalus and Icarus*, showcased a blend of Baroque dynamism and burgeoning Neoclassical restraint. However, his style evolved significantly after his Grand Tour of Italy in 1779–80, which included encounters with the art collections of Bologna, Florence, Rome, and Naples. Establishing his studio in Rome in 1781, Canova immersed himself in the city’s rich classical heritage, inspired by the remains of antiquity and the writings of Johann Joachim Winckelmann, a seminal figure in the promotion of Neoclassicism.

Winckelmann's exhortation to imitate the ancients, seeking "noble simplicity and quiet grandeur," resonated deeply with Canova. This philosophical alignment is evident in works like *Theseus and the Minotaur* (1782), which marked his transition to a mature Neoclassical style. Unlike the Baroque emphasis on dramatic expression and complex compositions exemplified by Gian Lorenzo Bernini, Canova's sculptures exuded a serene grace and harmonious proportions, evoking the timeless beauty of Greco-Roman antiquities.

Canova's *Psyche Revived by Cupid's Kiss* is a testament to his ability to blend classical ideals with a palpable sensuality. The sculpture, depicting the moment Cupid revives Psyche with a kiss, encapsulates the Neoclassical virtues of clarity and idealized form while also conveying deep emotional resonance. The story of Psyche, a mortal punished for glimpsing her divine lover, finds a tender resolution in Canova’s marble, where the lovers’ embrace transcends their earthly trials.

Despite his acclaim, Canova faced criticism for his innovative approach. Some contemporaries accused him of borrowing too liberally from classical models, while others, like the Earl of Minto, found his work too imbued with "French smirking and opera dancing." Critics preferred the austere Neoclassicism of Danish sculptor Bertel Thorvaldsen, who adhered more closely to Winckelmann’s “high” style of Greek sculpture, characterized by its abstracted simplicity and stoic grandeur.

Moreover, Canova's interest in material and textural experimentation sparked controversy. His works often featured tinted marble and gilded accessories, blurring the boundaries between sculpture and reality. This approach challenged the prevailing dogma that true classical sculpture should be pure white marble. Canova’s insistence on lifelike finishes, including the application of wax and tints to simulate the softness and warmth of flesh, was revolutionary yet contentious, eliciting skepticism even among admirers.

The Duke of Bedford, one of Canova's patrons, praised the *morbidezza* of his sculptures— the term referring to the lifelike softness of the marble surface. This quality was achieved through Canova’s meticulous *ultima mano*, the final phase of polishing and detailing that imparted a living vibrancy to his figures. The textures of his sculptures varied from velvety softness to glassy smoothness, a testament to his mastery of marble and his dedication to achieving a sensory illusion of life beneath the stone.

Canova’s influence extended beyond his lifetime, securing his legacy as the preeminent Neoclassical sculptor. His work for Napoleon and the Bonaparte family, including the iconic *Bust of Napoleon*, and his role as Inspector General of the Fine Arts for the Papal States, underscored his versatility and political acumen. Even after the fall of Napoleon, Canova’s diplomatic efforts in art restitution demonstrated his commitment to cultural preservation.

The culmination of Canova’s career came with the construction of the Tempio Canoviano in Possagno, a neoclassical church that epitomized his architectural vision and artistic synthesis. Although he died in 1822 before its completion, the Tempio stands as a monument to his genius, embodying the classical principles he revered and the innovative spirit that defined his oeuvre.

In conclusion, Antonio Canova's legacy lies in his masterful fusion of classical inspiration with a distinctive sensuality and technical prowess. His sculptures, such as Psyche Revived by Cupid's Kiss, continue to enchant viewers with their beauty and emotional depth, transcending the rigid boundaries of style and tradition. Canova's work remains a testament to the enduring power of classical ideals reimagined through the lens of individual genius, a love affair between antiquity and modernity that has captivated generations.