Antonio Canova

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Antonio Canova

33 artworks

Italian Neoclassical painter, draftsman, sculptor and architect

Born 11/1/1757 - Died 10/13/1822

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Cupid and Psyche

1797

Marble

Musee du Louvre, Paris, France

Cupid and Psyche

1808

Marble

Hermitage, St Petersburg, Russian Federation

Credit: The Hermitage (<a href=http://

Hebe

1800-1805

Marble

166 cms | 65 1/4 ins

Hermitage, St Petersburg, Russian Federation

Credit: The Hermitage

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The Three Graces

1813-1816

Marble

Hermitage, St Petersburg, Russian Federation

Credit: The Hermitage (<a href=http://

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Hercules and Lichas

Marble

335 cms | 131 3/4 ins

Cupid and Psyche

1796-1793

Marble

Hermitage, St Petersburg, Russian Federation

Credit: The Hermitage

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Perseus with the Head of Medusa

1804-1806

Marble

220 cms | 86 1/2 ins

Metropolitan Museum of Art, Manhattan, United States

Credit: Visipix: 500,000+ hi-res image

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Daedalus and Icarus

1777-1779

Marble

200 x 95 x 97 cms | 78 1/2 x 37 1/4 x 38 ins

Museo Correr, Venezia, Italy

The Repentant Mary Magdalene

1809

Marble

Hermitage, St Petersburg, Russian Federation

Credit: The Hermitage (<a href=http://

Theseus and the Minotaur

1781-1783

Marble

145.4 x 158.7 x 91.4 cms | 57 x 62 1/4 x 35 3/4 ins

Victoria and Albert Museum, London, United Kingdom

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Mode

CANOVA, ANTONIO (1757—1822), Italian sculptor, was born on the 1st of November 1757, at Passagno, an obscure village situated amid the recesses of the hills of Asolo, where these form the last undulations of the Venetian Alps, as they subside into the plains of Treviso. At three years of age Canova was deprived of both parents, his father dying and his mother remarrying. Their loss, however, was compensated by the tender solicitude and care of his paternal grandfather and grandmother, the latter of whom lived to experience in her turn the kindest personal attention from her grandson, who, when he had the means, gave her an asylum in his house at Rome. His father and grandfather followed the occupation of stone-cutters or minor statuaries; and it is said that their family had for several ages supplied Passagno with members of that calling. As soon as Canova’s hand could hold a pencil, he was initiated into the principles of drawing by his grandfather Pasino. The latter possessed some knowledge both of drawing and of architecture, designed well, and showed considerable taste in the execution of ornamental warks. He was greatly attached to his art; and upon his young charge he looked as one who was to perpetuate, not only the family name, but also the family profession ...