Misplaced Pages

#52947

50-530: The loggias now form part of the ceremonial route for distinguished visitors, but are not otherwise on the tourist route. Between 1787-1792 the architect Giacomo Quarenghi constructed a full copy of the loggias, called the Raphael Loggias, in the Large Hermitage , Saint Petersburg . The layout of the scenes in the loggia does not always align when transitioning from bay to bay. As a result,

100-480: 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

150-492: A friend of Winckelmann , and the former's pupil Niccola Giansimoni, measuring and drawing the antiquities of Rome. In Venice (1771–1772), where he was studying the works of Palladio, Quarenghi came into contact with a British lord passing through there on the Grand Tour . It was through him that the architect secured a few minor English commissions, such as garden pavilions, chimney pieces (Loukomsky 1928), and an altar for

200-452: 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

250-405: A market, a bank building, interior decorations and garden designs. His projects were put into execution as far away from the capital as Novhorod-Siverskyi , Ukraine where a cathedral was constructed to his designs. In Moscow , he was responsible for the reconstruction of medieval Red Square in a fashionable neo-Palladian mode. Count Nicholas Sheremetev engaged him to devise a theatre hall in

300-647: A moment when Neoclassicism was being developed in advanced artistic circles. He studied painting with Anton Raphael Mengs , then with Stefano Pozzi , later moving to study architecture (1767–69) with a traditionalist Late Baroque architect Paolo Posi . Then he came upon a copy of Andrea Palladio 's Quattro Libri d'archittetura . "You could never believe," he wrote to his friend and long-term correspondent Marchesi, "the impression that this book made. Then it struck me that I had every reason to consider myself badly guided" before that point (Loukomsky 1928). He turned for new, Neoclassical instruction to Antoine Decrezet,

350-643: 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

400-667: A reputation that in 1779 he was selected by the Prussian-born count Rieffenstein, who had been commissioned by Catherine II of Russia to send her two Italian architects to replace her French ones (Loukomsky 1928). Despite having just designed a manege in Monaco and a dining hall for the Archduchess of Modena , 35-year-old Quarenghi seems to have felt himself underemployed, given the number of architects then working in Italy and

450-474: 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

500-593: 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

550-588: The Ostankino Palace and a semicircular colonnade for the Sheremetev Hospital. Most of Quarenghi's designs intended for Moscow were subsequently realized with significant modifications by other architects, as was the case with Gostiny Dvor (1789–1805), Catherine Palace (1782–87), and Sloboda Palace (1790–94). Emperor Paul disliked everything that was dear to his mother and Quarenghi's architecture obviously fell into this category. After

SECTION 10

#1732772740053

600-540: 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

650-522: 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

700-454: 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

750-627: 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

800-664: 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

850-525: 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,

900-797: 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

950-878: 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

1000-648: 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

1050-784: The Volkov Cemetery to the Lazarevskoe Cemetery at the Alexander Nevsky Monastery , and a bust of the architect was erected between the Assignation Bank and Bank Bridge in Saint Petersburg. 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

SECTION 20

#1732772740053

1100-401: 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

1150-414: 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

1200-519: 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

1250-646: The dearth of commissions from the church and nobility. He accepted Rieffenstein's offer without hesitation and left with his pregnant wife for St Petersburg. Quarenghi's first important commission in Russia was the English Palace in Peterhof , a magnificent rectangular edifice with a Corinthian portico . The structure, which pleased the Empress immensely, was blown up by the Germans during World War II and

1300-539: 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

1350-541: The emperor took the Maltese knights under his protection, Quarenghi also joined the Order and served as its official architect until 1800. His commissions became less frequent, as the monotonous rhythm of solemn colonnades and the laconic clarity of symmetrical compositions appeared boring to those courtiers who had found Quarenghi's designs so delightful a decade earlier. Under such circumstances, he visited Italy in 1801 and

1400-686: The enthronement of Alexander I of Russia , Quarenghi was again at the height of his individuality and fashion. In 1805 the architect became a corresponding member of the Imperial Academy of Arts . His design for the Anichkov Palace Colonnade, however, incurred severe criticism from the academic establishment for the perceived erratic use of classical orders . Quarenghi defended himself in a letter to Canova proclaiming that "good sense and judgment shouldn't be enslaved by commonly accepted rules and models". Giacomo Quarenghi

1450-647: 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

1500-416: 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

1550-474: 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

Vatican loggias - Misplaced Pages Continue

1600-621: 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 ,

1650-598: The private Roman Catholic chapel of Henry Arundell at New Wardour Castle . Designs for a country house for Lord Whitworth were exhibited at Venice in 1967. His first major commission (1771–7) was the internal reconstruction of the monastery of Santa Scholastica at Subiaco . For the Venetian cardinal Rezzonico, the nephew of Pope Clement XIII , he designed a decor for a Music Room in the Campidoglio , and designs for Clement's tomb (later executed by Antonio Canova ). His work in Italy and for English clients formed enough of

1700-551: 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

1750-580: 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

1800-540: 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

1850-622: 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

1900-621: The table below does not display the biblical events in chronological order, but according to the orientation of the loggia itself. The scheme of the ceiling of the Raphael Loggia from north to south is as follows: Giacomo Quarenghi Giacomo Quarenghi ( Italian pronunciation: [ˈdʒaːkomo kwaˈreŋɡi, -ˈrɛŋɡi] ; Russian: Джа́комо Кваре́нги , romanized : Džákomo Kvaréngi , IPA: [ˈdʐakəmə kvɐˈrʲenɡʲɪ] ; 20 or 21 September 1744 – 2 March [ O.S. 18 February] 1817)

1950-742: Was an Italian architect who was the foremost and most prolific practitioner of neoclassical architecture in Imperial Russia , particularly in Saint Petersburg . He brought into vogue an original monumental style, of Palladian inspiration , which was a reference for many architects who worked in Russia as well as the Grand Duchy of Finland . He has been described as "the last of the great architects of Italy". Born in Rota d'Imagna near Bergamo to an Italian noble family, Quarenghi

2000-468: 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 –

2050-598: 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

Vatican loggias - Misplaced Pages Continue

2100-565: 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

2150-562: Was destined by his parents for a career in law or the church but initially was allowed to study painting in the Bergamo studio of G. Reggi, himself a student of Tiepolo . Young Quarenghi was well-educated and widely read. Travelling through Italy he visited Vicenza , Verona , Mantua and Venice , the places where he made the longest stays. He made drawings of the Greek temples at Paestum (Loukomski 1928) and finally arrived in Rome in 1763, at

2200-981: 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

2250-468: Was given a triumphant welcome. He turned his attention to watercolours , enlivening conventional architectural vistas with genre scenes from everyday city life. He also published several albums of neo-Palladian designs (1787, 1791, 1810) and provided elaborate designs for decorative vases , capitals for columns and metalwork executed for imperial residences, particularly the Winter Palace . With

2300-513: Was granted Russian nobility and the Order of St. Vladimir of the First Degree in 1814. After 1808 he lived largely in retirement as a celebrity. Of his thirteen children by two wives, a few chose to remain in Russia, while others returned to Italy. He died at age 72 in Saint Petersburg. When the 150th anniversary of his death was being marked in 1967, the remains of Quarenghi were moved from

2350-538: 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

2400-637: Was later demolished by the Soviet government. In 1783 Quarenghi settled with his family in Tsarskoe Selo , where he would supervise the construction of the Alexander Palace , the most ambitious of his undertakings to date. Appointed to the post of Catherine II 's court architect, Quarenghi went on to produce a prodigious number of designs for the Empress, her successors and members of her court: houses, summerhouses, bridges, theatres, hospices,

2450-540: 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

2500-490: 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

#52947