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ANNIVERSARY CANOVA
from Biaf n.04
Venere Italica by Canova, Galleria Palatina
200 years after his death we celebrate him like this A 200 anni dalla scomparsa lo celebriamo così
He was supposed to make a faithful copy, but instead he turned the Venus Pudica into a sensual modern young woman. This was typical of Antonio Canova (1757-1822), an artist who lived in the Age of Enlightenment and anticipated the future by rediscovering classical art. And like Donatello, Michelangelo or Bernini, he did not limit himself to copying. He brought new vitality to the art of antiquity, making it current. And he also polished his statues with wax, turning cold Carrara marble - polished using pumice - into warm ivory, and even suggesting the position of the candles that would illuminate his works so that their oblique light would accentuate their shape. Canova found immediate fame, and was universally acclaimed for works such as Psyche Revived by Cupid’s Kiss, The Three Graces and Hebe. He was the most sought-after artist among a large portion of European nobility, loved by the Papal Court and a favourite of Napoleon. But he was also loved by those who recovered some of his works, which had been moved to Paris after the fall of Bonaparte. One of these was the Venus Pudica at the . Even though he had been asked to make a copy, Canova did things his own way, and left Florence a masterpiece, the Venus Italica (in the Galleria ). A young woman leaving the bath notices she’s being watched and tries to cover herself. She’s alive, sensual. Similarly lifelike and suffering is the impressive Italy who leans on the sarcophagus for support as she mourns with covered face the death of . The monument in the church of Santa Croce was commissioned by the writer’s companion, the Countess of Albany. Such monuments would quickly be considered distinctive to the work of an artist who died exactly two centuries ago, on 13 October 1822. And an opportunity to rediscover this comes in the form of the Antiques Biennale, where small and large masterpieces from the age of Canova are found halfway between Neoclassicism and Romanticism. Avrebbe dovuto copiarla fedelmente e invece trasformò la Venus Pudica in una moderna, sensuale, ragazza. Era così Antonio Canova (1757-1822), un artista che visse nel secolo dei lumi e anticipò il futuro riscoprendo l’arte classica. E come Donatello, Michelangelo o Bernini non si limitò a copiare. Dette all’antico una nuova vitalità, lo rese attuale. E levigò le sue statue con la cera, trasformando il freddo marmo di Carrara, lucidato a pomice, in un caldo avorio, suggerendo anche la posizione delle candele che dovevano illuminare le sue opere di luce radente per far risaltare le forme. come Amore e Psiche, le Tre Grazie, Ebe. Fu l’artista più ricercato preferito di Napoleone. Ma anche colui che dopo la caduta di Bonaparte recuperò parte delle opere portate a Parigi. Tra queste c’era la Venus Pudica degli . Tanto che gli avevano chiesto di farne una copia, lui invece fece di testa sua, lasciando a Firenze un capolavoro: la Venere Italica (alla Palatina). Una fanciulla che uscendo dal bagno scopre di essere osservata e prova a coprirsi. E’ sensuale, viva. Così come sofferente e vera è la possente Italia che si appoggia al sarcofago per non svenire dal dolore mentre piange, coprendosi il volto, la morte di . E’ la contessa di Albany e compagna dello scrittore a incaricare Canova del monumento in Santa Croce. Monumenti che diverranno presto un’altra delle caratteristiche peculiari dell’artista morto, esattamente due secoli fa, il 13 ottobre 1822. E l’occasione per riscoprirlo è offerta anche dalla Biennale dell’Antiquariato dove si trovano piccoli e grandi capolavori del tempo di Canova a metà strada tra neoclassicismo e romanticismo.