Professional Documents
Culture Documents
The Sublime
Made Visible
• Canova was outside the
mainstream of art
• He demanded that art embody
sublime beauty
• In his view the beautiful in nature
was not radiant, but through art
became spiritual
The Three Graces,1814-16,
Orpheus, 1777
Venus Victrix, 1804-08
Dancer with Cymbals, 1811, Gypsotheca Venus & Mars, 1816, Gypsotheca Nymphs &Satyr, 1873, WM Bougereau
Neo-Classicism
Master of the
Craft
Antonio Canova
1757 – 1822
Napoleon’s Invasion of
Italy
Republic of Venice : La Serenissima
Rise and Fall of the Empire 697-
Italia in Tears
Monument to Vittorio Alfieri, 1806-10, Firenze
Apprenticeship: Un talento
all’Accademia
Orpheus and Eurydice, 1775-76, Venezia, Museo
Correr
Minotaur
Casa Canova
END OF PART QUESTIONS &
1
ANSWERS
PART 2 :
THE “VENUS” STATUES
Canova’s
Venus Sculptures
Part Two
• Background
• Venus Vincitrix : Pauline Bonaparte
• Venus de Milo – Classical Precedent
• Venus in Mythology
• Contemporary Italian Venus’
• Venus Italica I – history
• Venus Italica II– Views
• Venus Italica III – history
Depictions of Venus
Over the Millennia
1. Venus Willendorf, 25000BC, 2. Venus of Milo, 100BC, Louvre 3. Venus Genetrix, 200AD, Louvre4. Birth of Venus, Botticelli, 1486, Firenze
Depictions of Venus in Contemporary
Culture’
Depictions of
VENUS by
ANTONIO
CANOVA
Paoline
Bonaparte
Venus Vincitrix
Venus
de
Medici
First
Venus Italica
Hearst Library
The Fourth Venus Italica –Hope Collection
The Hope Venus
Thank you
The Magic Door
A study on the Ancient Italian Traditions
available at Amazon.ca or Chapters.ca
David Pantano
historian, author, lecturer
Contact:
davpan1000@yahoo.com
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