Canova (Art dossier Giunti) by Marco Fabio Apolloni

By Marco Fabio Apolloni

Antonio Canova (1 November 1757 – thirteen October 1822) used to be an Italian sculptor from the Republic of Venice who turned well-known for his marble sculptures that gently rendered nude flesh. The epitome of the neoclassical sort, his paintings marked a go back to classical refinement after the theatrical excesses of Baroque sculpture. between Canova's English students have been sculptors Sir Richard Westmacott and John Gibson.

Sommario:

Lo scultore di Possagno
La Bottega di Lisippo a Roma
Amore, Religione e morti di Canova
Quadro Cronologico
Bibliografia

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Extra info for Canova (Art dossier Giunti)

Example text

Painted the background with as and definition as the figures. Then I decided it should recede more; so I went over the whole background with several crosshatched layers of pink and violet strokes Originally much I contrast "" " EXPLORING TECHNIQUE Evolving into Simplicity In 1940 Joseph Jeffers Dodge graduated from Harvard with honors in fine arts. Although he has spent much of his time since then as curator and director of art museums, he has also continued to paint the figure. In an art career that spans nearly half a century, Dodge has explored subjects and media, colors and compositions to arrive at what is now a strong and simple style.

He says he has tried more expression, but it makes the pieces too narrative. He wants his paintings to be tive. Even his ballet dancers are very timeless rather than moments in time. Basically he looks at the figures as compositional tools, to provide movement and take up space. Expres- sion is secondary. Most of his paintings are well-conmany-figured scenes with people placed amid structed, other shapes to create a total design. As much as he has flattened out his paintings, would he like to achieve the absolute two-dimensional image of the Japanese prints?

He says that extended figures lose their mass for him; he likes solid forms with no holes in them. Then because the figures are still, he also makes their expressions very quiet. He says he has tried more expression, but it makes the pieces too narrative. He wants his paintings to be tive. Even his ballet dancers are very timeless rather than moments in time. Basically he looks at the figures as compositional tools, to provide movement and take up space. Expres- sion is secondary. Most of his paintings are well-conmany-figured scenes with people placed amid structed, other shapes to create a total design.

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