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Antonio Canova

Italian Neoclassical Sculptor, 1757-1822 Italian sculptor, painter, draughtsman and architect. He was the most innovative and widely acclaimed sculptor of NEO-CLASSICISM. His development during the 1780s of a new style of revolutionary severity and idealistic purity led many of his contemporaries to prefer his ideal sculptures to such previously universally admired Antique statues as the Medici Venus and the Farnese Hercules, thus greatly increasing the prestige of 'modern' sculpture. He was also much in demand as a portrait sculptor.
Tomb_of_Pope_Clement_XIII

Antonio Canova Tomb of Pope Clement XIII oil painting on canvas

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Antonio_Canova
Tomb of Pope Clement XIII
1792 Marble Basilica di San Pietro, Vatican Here, too, Berninian references are not lacking, as in the figure of the pope, but the overall setting places the whole amongst the finest works of Neoclassical in general, not just in Rome. The asymmetrical figures of Religion and Genius generate a circular movement that pervades the entire composition. Author: CANOVA, Antonio Title: Tomb of Pope Clement XIII Form: sculpture , 1751-1800 , Italian , religious

Painting ID::  62405

INCHES CM PRICE  
16x20 40x50 $99
20x24 50x60 $119
24x36 60x90 $159
30x40 75x100 $199
36x48 90x120 $269
48x72 120x180 $469

    1792 Marble Basilica di San Pietro, Vatican Here, too, Berninian references are not lacking, as in the figure of the pope, but the overall setting places the whole amongst the finest works of Neoclassical in general, not just in Rome. The asymmetrical figures of Religion and Genius generate a circular movement that pervades the entire composition. Author: CANOVA, Antonio Title: Tomb of Pope Clement XIII Form: sculpture , 1751-1800 , Italian , religious
Antonio Canova
Italian Neoclassical Sculptor, 1757-1822 Italian sculptor, painter, draughtsman and architect. He was the most innovative and widely acclaimed sculptor of NEO-CLASSICISM. His development during the 1780s of a new style of revolutionary severity and idealistic purity led many of his contemporaries to prefer his ideal sculptures to such previously universally admired Antique statues as the Medici Venus and the Farnese Hercules, thus greatly increasing the prestige of 'modern' sculpture. He was also much in demand as a portrait sculptor.
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