51-553: Henry Fuseli RA ( / ˈ f juː z ə l i , f juː ˈ z ɛ l i / FEW -zə-lee, few- ZEL -ee ; German : Johann Heinrich Füssli [ˈjoːhan ˈhaɪ̯nʁɪç ˈfyːsli] ; 7 February 1741 – 17 April 1825) was a Swiss painter, draughtsman , and writer on art who spent much of his life in Britain . Many of his works depict supernatural experiences, such as The Nightmare . He painted works for John Boydell's Shakespeare Gallery and created his own "Milton Gallery". He held
102-480: A distinct, signature style in which he combined Greek and Roman art practices with early stirrings of romanticism to delve into a new path of Neoclassicism . Canova's sculptures fall into three categories: Heroic compositions, compositions of grace, and sepulchral monuments. In each of these, Canova's underlying artistic motivations were to challenge, if not compete, with classical statues. Canova refused to take in pupils and students, but would hire workers to carve
153-552: A full academician , presenting Thor Battering the Midgard Serpent as his diploma work . In 1799 Fuseli was appointed professor of painting to the Academy. Four years later he was chosen as Keeper, and resigned his professorship, but resumed it in 1810, continuing to hold both offices until his death. He was succeeded as keeper by Henry Thomson . In 1799, Fuseli exhibited a series of paintings from subjects furnished by
204-452: A funerary monument dedicated to Clement XIV for the Church of Santi Apostoli . After another two years, the work met completion in 1787. The monument secured Canova's reputation as the pre-eminent living artist. In 1792, he completed another cenotaph, this time commemorating Clement XIII for St. Peter's Basilica . Canova harmonized its design with the older Baroque funerary monuments in
255-643: A pension. Successful in the application, the stipend allotted amounted to three hundred ducats, limited to three years. While in Rome, Canova spent time studying and sketching the works of Michelangelo . In 1781, Girolamo Zulian – the Venetian ambassador to Rome – hired Canova to sculpt Theseus and the Minotaur . Zulian played a fundamental role in Canova's rise to fame, turning some rooms of his palace into
306-474: A robed and recumbent sculpture of Pauline Borghese in the guise of Diana . Instead, Pauline ordered Canova to make the statue a nude Venus. The work was not intended for public viewing. Other works for the Napoleon family include, a bust of Napoleon, a statue of Napoleon's mother, and Marie Louise as Concordia . In 1802, Canova was assigned the post of 'Inspector-General of Antiquities and Fine Art of
357-593: A studio for the artist and placing his trust in him despite Canova's early critics in Rome. The statue depicts the victorious Theseus seated on the lifeless body of a Minotaur . The initial spectators were certain that the work was a copy of a Greek original, and were shocked to learn it was a contemporary work. The highly regarded work is now in the collection of the Victoria & Albert Museum , in London. Between 1783 and 1785, Canova arranged, composed, and designed
408-504: A translation of Homer . In 1788, Fuseli married Sophia Rawlins (originally one of his models), and he soon after became an associate of the Royal Academy . The early feminist Mary Wollstonecraft , whose portrait he had painted, planned a trip with him to Paris, and pursued him determinedly, but communication between the two was stopped by Rawlins. Fuseli later said "I hate clever women. They are only troublesome". In 1790, he became
459-592: Is a partial list of Honorary Royal Academicians ( Post-nominal : HonRA), academicians of the Royal Academy of Arts in London. A full list is available on the web pages of the Royal Academy Collections. HonRA Antonio Canova Antonio Canova ( Italian pronunciation: [anˈtɔːnjo kaˈnɔːva] ; 1 November 1757 – 13 October 1822) was an Italian Neoclassical sculptor , famous for his marble sculptures . Often regarded as
510-950: The Helvetic Painters . He intended Henry for the church, and sent him to the Caroline college of Zürich, where he received a classical education. One of his schoolmates there was Johann Kaspar Lavater , with whom he became close friends. After taking orders in 1761, Fuseli was forced to leave the country as a result of having helped Lavater to expose an unjust magistrate, whose powerful family sought revenge. He travelled through Germany, and then, in 1765, visited England, where he supported himself for some time by miscellaneous writing. Eventually, he became acquainted with Sir Joshua Reynolds , to whom he showed his drawings. Following Reynolds' advice, he decided to devote himself entirely to art. In 1770 he made an art-pilgrimage to Italy, where he remained until 1778, changing his name from Füssli to
561-540: The Parthenon and the Pantheon together. On 11 July 1819, Canova laid the foundation stone dressed in red Papal uniform and decorated with all his medals. It first opened in 1830, and was finally completed in 1836. After the foundation-stone of this edifice had been laid, Canova returned to Rome; but every succeeding autumn he continued to visit Possagno to direct the workmen and encourage them with rewards. During
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#1732776126909612-522: The Venus de' Medici . After his 1814 proposal to build a personified statue of Religion for St. Peter's Basilica was rejected, Canova sought to build his own temple to house it. This project came to be the Tempio Canoviano . Canova designed, financed, and partly built the structure himself. The structure was to be a testament to Canova's piety. The building's design was inspired by combining
663-454: The gypsotheque of the Tempio Canoviano . Among Canova's most notable works are: Psyche Revived by Cupid's Kiss was commissioned in 1787 by Colonel John Campbell . It is regarded as a masterpiece of Neoclassical sculpture, but shows the mythological lovers at a moment of great emotion, characteristic of the emerging movement of Romanticism . It represents the god Cupid in the height of love and tenderness, immediately after awakening
714-627: The Empress died in May of the same year he immediately offered to purchase the completed piece, but was unsuccessful as Josephine's son Eugène de Beauharnais claimed it (his son Maximilian, Duke of Leuchtenberg brought it to St. Petersburg , where it can now be found in the Hermitage Museum ). Undeterred, the Duke commissioned another version for himself. The sculpting process began in 1814 and
765-485: The Lapland Witches . His sketches or designs numbered about 800; they have admirable qualities of invention and design and are frequently superior to his paintings. In his drawings, as in his paintings, his methods included deliberately exaggerating the proportions of the human body and throwing his figures into contorted attitudes. One technique involved setting down arbitrary points on a sheet, which then became
816-664: The Papal State', a position formerly held by Raphael . One of his activities in this capacity was to pioneer the restoration of the Appian Way by restoring the tomb of Servilius Quartus. In 1808 Canova became an associated member of the Royal Institute of Sciences, Literature and Fine Arts of the Kingdom of Holland . In 1814, he began his The Three Graces . In 1815, he was named 'Minister Plenipotentiary of
867-525: The Peacemaker , and Venus Victrix which was portrayal of Pauline Bonaparte . Napoleon as Mars the Peacemaker had its inception after Canova was hired to make a bust of Napoleon in 1802. The statue was begun in 1803, with Napoleon requesting to be shown in a French General's uniform, Canova rejected this, insisting on an allusion to Mars , the Roman god of War . It was completed in 1806. In 1811,
918-797: The Pope,' and was tasked with recovering various works of art that were taken to Paris by Napoleon under the terms of the Treaty of Paris (1815) . The works of Phidias are truly flesh and blood, like beautiful nature itself Also in 1815, he visited London , and met with Benjamin Haydon . It was after the advice of Canova that the Elgin Marbles were acquired by the British Museum, with plaster copies sent to Florence , according to Canova's request. In 1816, Canova returned to Rome with some of
969-878: The Tempio in Possagno. On 25 October 1822, his body was placed in the Tempio Canoviano. His heart was interred at the Basilica di Santa Maria Gloriosa dei Frari in Venice, and his right hand preserved in a vase at the Accademia di Belle Arti di Venezia . His memorial service was so grand that it rivaled the ceremony that the city of Florence held for Michelangelo in 1564. In 1826, Giovanni Battista Sartori sold Canova's Roman studio and took every plaster model and sculpture to Possagno, where they were installed in
1020-648: The Villa Falier at Asolo . The statues were begun in 1775, and both were completed by 1777. The pieces exemplify the late Rococo style . On the year of their completion, both works were exhibited for the Feast of the Ascension in Piazza San Marco . Widely praised, the works won Canova his first renown among the Venetian elite. Another Venetian who is said to have commissioned early works from Canova
1071-623: The age of 25. Fuseli painted more than 200 pictures, but he exhibited only a small number of them. His earliest painting represented Joseph Interpreting the Dreams of the Baker and Butler , but the first to excite particular attention was The Nightmare , exhibited in 1782, a painting of which he painted several versions. Themes seen in The Nightmare such as horror, dark magic and sexuality, were echoed in his 1796 painting, Night-Hag visiting
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#17327761269091122-401: The art Napoleon had taken. He was rewarded with several marks of distinction: he was appointed President of the Accademia di San Luca , inscribed into the "Golden Book of Roman Nobles" by the Pope's own hands, and given the title of Marquis of Ischia , alongside an annual pension of 3,000 crowns. In 1819, he commenced and completed his commissioned work Venus Italica as a replacement for
1173-465: The art of setting his figures in motion. Though the lofty and terrible was his proper sphere, Fuseli had a fine perception of the ludicrous. The grotesque humour of his fairy scenes, especially those taken from A Midsummer-Night's Dream , is in its way not less remarkable than the poetic power of his more ambitious works. Though not noted as a colourist, Fuseli was described as a master of light and shadow. Rather than setting out his palette methodically in
1224-414: The basilica. In 1790, he began to work on a funerary monument for Titian , which was eventually abandoned by 1795. During the same year, he increased his activity as a painter. Canova was notoriously disinclined to restore sculptures. However, in 1794 he made an exception for his friend and early patron Zulian, restoring a few sculptures that Zulian had moved from Rome to Venice. The following decade
1275-519: The completed work. At the base of the statue, Daedalus' tools are scattered about; these tools are also an allusion to Sculpture, of which the statue is a personification. With such an intention, there is suggestion that Daedalus is a portrait of Canova's grandfather Pasino. Canova arrived in Rome , on 28 December 1780. Prior to his departure, his friends had applied to the Venetian Senate for
1326-539: The depiction to be of a robed Diana , but Pauline Borghese insisted to appear as a nude Venus. The work was not intended for public viewing. John Russell , the 6th Duke of Bedford, commissioned a version of the now famous work. He had previously visited Canova in his studio in Rome in 1814 and had been immensely impressed by a carving of the Graces the sculptor had made for the Empress Joséphine . When
1377-500: The extreme points of the various limbs. Notable examples of these drawings were made in concert with George Richmond when the two artists were together in Rome. He rarely drew figures from life, basing his art on study of the antique and Michelangelo. He produced no landscapes —"Damn Nature! she always puts me out" was his characteristic exclamation—and painted only two portraits. However, similar to contemporary landscape painters such as J. M. W. Turner , he evoked qualities of terror and
1428-647: The greatest of the Neoclassical artists, his sculpture was inspired by the Baroque and the classical revival, and has been characterised as having avoided the melodramatics of the former, and the cold artificiality of the latter. In 1757, Antonio Canova was born in the Venetian Republic city of Possagno to Pietro Canova, a stonecutter, and Angela Zardo Fantolin. In 1761, his father died. A year later, his mother remarried. As such, in 1762, he
1479-416: The initial figure from the marble. According to art historian Giuseppe Pavanello, "Canova's system of work concentrated on the initial idea, and on the final carving of the marble". He had an elaborate system of comparative pointing so that the workers were able to reproduce the plaster form in the selected block of marble. These workers would leave a thin veil over the entire statue so Canova's could focus on
1530-474: The lifeless Psyche with a kiss. Napoleon as Mars the Peacemaker had its inception after Canova was hired to make a bust of Napoleon in 1802. The statue was begun in 1802, with Napoleon requesting to be shown in a French General's uniform, Canova rejected this, insisting on an allusion to Mars , the Roman god of War . It was completed in 1806. In 1811, the statue arrived in Paris, but not installed; neither
1581-399: The manner of most painters, he merely distributed the colours across it randomly. He often used his pigments in the form of a dry powder, which he hastily combined on the end of his brush with oil, or turpentine , or gold size , regardless of the quantity, and depending on accident for the general effect. This recklessness may perhaps be explained by the fact that he did not paint in oil until
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1632-490: The marble statues of the Monte Cavallo , which, when at Rome , he liked to contemplate in the evening, relieved against a murky sky or illuminated by lightning. Describing his style, William Michael Rossetti in the 1911 Encyclopædia Britannica Eleventh Edition said that: His figures are full of life and earnestness, and seem to have an object in view which they follow with intensity. Like Rubens he excelled in
1683-644: The more Italian-sounding Fuseli. In Rome he moved in the same circles as the Scottish artist Alexander Runciman and the Swedish sculptor Tobias Sergel . In early 1779, he returned to Britain, visiting Zürich on the way. In London, he found a commission awaiting him from Alderman Boydell , who was then setting up his Shakespeare Gallery . Fuseli painted a number of pieces for Boydell, and published an English edition of Lavater's work on physiognomy . He also gave William Cowper some valuable assistance in preparing
1734-621: The period that intervened between commencing operations at Possagno and his death, he executed or finished some of his most striking works. Among these were the group Mars and Venus , the colossal figure of Pius VI , the Pietà , the St John , and a colossal bust of his friend, the Count Leopoldo Cicognara . In 1820, he made a statue of George Washington for the state of North Carolina . As recommended by Thomas Jefferson ,
1785-464: The posts of Professor of Painting and Keeper at the Royal Academy . His style had a considerable influence on many younger British artists, including William Blake . Fuseli was born on 7 February 1741, in Zürich , the second of 18 children. Among his brothers and sisters were Johann Kaspar and Anna . His father was Johann Caspar Füssli , a painter of portraits and landscapes, and author of Lives of
1836-551: The rotunda of the capitol building . In 1822, he journeyed to Naples, to superintend the construction of wax moulds for an equestrian statue of Ferdinand VII . The adventure was disastrous to his health, but soon became healthy enough to return to Rome. From there, he voyaged to Venice; however, on 13 October 1822, he died there at the age of 64. As he never married, the name became extinct, except through his stepbrothers' lineage of Satori-Canova. On 12 October 1822, Canova instructed his brother to use his entire estate to complete
1887-580: The sculptor used the marble bust of Washington by Giuseppe Ceracchi as a model. It was delivered on 24 December 1821. The statue and the North Carolina State House where it was displayed were later destroyed by fire in 1831. A plaster replica was sent by King Victor Emmanuel III of Italy in 1910, now on view at the North Carolina Museum of History . A marble copy was sculpted by Romano Vio in 1970, now on view in
1938-540: The statue arrived in Paris, but not installed; neither was its bronze copy in the Foro Napoleonico in Milan. In 1815, the original went to the Duke of Wellington , after his victory at Waterloo against Napoleon. If one could make statues by caressing marble, I would say that this statue was formed by wearing out the marble that surrounded it with caresses and kiss Venus Victrix was originally conceived as
1989-622: The statue was commissioned from Canova by the Polish countess Waleria Tarnowska ; it's now displayed in the Metropolitan Museum of Art in New York City . Karl Ludwig Fernow said of the statue that "every eye must rest with pleasure on the beautiful surface, even when the mind finds its hopes of high and pure enjoyment disappointed." Venus Victrix ranks among the most famous of Canova's works. Originally, Canova wished
2040-417: The sublime. Many interesting anecdotes of Fuseli, and his relations to contemporary artists, are given in his Life by John Knowles (1831). He influenced the art of Fortunato Duranti . He was a thorough master of French, Italian, English and German, and could write in all these languages with equal facility and vigour, although he preferred German as the vehicle of his thoughts. His principal written work
2091-500: The works of John Milton , with a view to forming a Milton gallery comparable to Boydell's Shakespeare gallery. There were 47 Milton paintings, many of them very large, completed at intervals over nine years. The exhibition proved a commercial failure and closed in 1800. In 1805 he brought out an edition of Matthew Pilkington 's Lives of the Painters , which did little for his reputation. Antonio Canova , when on his visit to England,
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2142-468: Was an apprentice for two years to Giuseppe Bernardi , who was also known as 'Torretto'. Afterwards, he was under the tutelage of Giovanni Ferrari until he began his studies at the Accademia di Belle Arti di Venezia . At the academy, he won several prizes. During this time, he was given his first workshop within a monastery by some local monks. The Senator Giovanni Falier commissioned Canova to produce statues of Orpheus and Eurydice for his garden –
2193-598: Was based freely to the Apollo Belvedere and the Medusa Rondanini . Napoleon , after his 1796 Italian Campaign , took the Apollo Belvedere to Paris. In the statue's absence, Pope Pius VII acquired Canova's Perseus Triumphant and placed the work upon the Apollo' s pedestal. The statue was so successful that when the Apollo was returned, Perseus remained as a companion piece. One replica of
2244-411: Was buried in the crypt of St Paul's Cathedral . He was comparatively wealthy at the time of his death. [REDACTED] Category List of Royal Academicians This is a partial list of Royal Academicians ( post-nominal : RA ), academicians of the Royal Academy of Arts in London. A full list is available on the web pages of the Royal Academy Collections. Nephew of Andrew Freeth This
2295-565: Was completed in 1817. Finally in 1819 it was installed at the Duke's residence in Woburn Abbey . Canova even made the trip over to England to supervise its installation, choosing for it to be displayed on a pedestal adapted from a marble plinth with a rotating top. This version is now owned jointly by the Victoria and Albert Museum and the National Galleries of Scotland , and is alternately displayed at each. Canova had
2346-981: Was extremely productive, beginning works such as Hercules and Lichas , Cupid and Psyche , Hebe , Tomb of Duchess Maria Christina of Saxony-Teschen , and The Penitent Magdalene . In 1797, he went to Vienna , but only a year later, in 1798, he returned to Possagno for a year. By 1800, Canova was the most celebrated artist in Europe. He systematically promoted his reputation by publishing engravings of his works and having marble versions of plaster casts made in his workshop. He became so successful that he had acquired patrons from across Europe including France , England , Russia , Austria and Holland , as well as several members from different royal lineages, and prominent individuals. Among his patrons were Napoleon and his family, for whom Canova produced much work, including several depictions between 1803 and 1809. The most notable representations were that of Napoleon as Mars
2397-562: Was his series of twelve lectures delivered to the Royal Academy, begun in 1801. His pupils included David Wilkie , Benjamin Haydon , William Etty , and Edwin Landseer . William Blake , who was 16 years his junior, recognized a debt to him, and for a time many English artists copied his mannerisms. After a life of uninterrupted good health, he died on 17 April 1825, at the house of the Countess of Guildford on Putney Hill , aged 84, and
2448-590: Was its bronze copy in the Foro Napoleonico in Milan. In 1815, the original went to the Duke of Wellington , after his victory at Waterloo against Napoleon and is on display at Apsley House . Perseus Triumphant , sometimes called Perseus with the Head of Medusa , was a statue commissioned by tribune Onorato Duveyriez. It depicts the Greek hero Perseus after his victory over the Gorgon Medusa . The statue
2499-419: Was much taken with Fuseli's works, and on returning to Rome in 1817 caused him to be elected a member of the first class in the Accademia di San Luca . As a painter, Fuseli favoured the supernatural. He pitched everything on an ideal scale, believing a certain amount of exaggeration necessary in the higher branches of historical painting. In this theory he was confirmed by the study of Michelangelo 's works and
2550-540: Was put into the care of his paternal grandfather Pasino Canova, who was a stonemason , owner of a quarry , and was a "sculptor who specialized in altars with statues and low reliefs in late Baroque style". He led Antonio into the art of sculpting. Before the age of ten, Canova began making models in clay, and carving marble. Indeed, at the age of nine, he executed two small shrines of Carrara marble , which are still extant. After these works, he appears to have been constantly employed under his grandfather. In 1770, he
2601-490: Was the abate Filippo Farsetti , whose collection at Ca' Farsetti on the Grand Canal he frequented. In 1779, Canova opened his own studio at Calle Del Traghetto at S. Maurizio. At this time, Procurator Pietro Vettor Pisani commissioned Canova's first marble statue: a depiction of Daedalus and Icarus . The statue inspired great admiration for his work at the annual art fair; Canova was paid 100 gold zecchini for
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