Share
fullscreen
Antonio Canova - Venus through the looking glass
fullscreen
Antonio Canova - Venus and Fauno
fullscreen
Antonio Canova -  Venus and Adonis
fullscreen
Antonio Canova - Le Grazie
fullscreen
Antonio Canova - Self-portrait
fullscreen
Antonio Canova - Amorino Lubomirski
fullscreen
Antonio Canova - Creugante
fullscreen
Antonio Canova - Teseo winner on the Centaur
fullscreen
Antonio Canova - Amore e Psiche
fullscreen
Antonio Canova - Teseo sul Minotauro
fullscreen
Antonio Canova - Danzatrice con le mani sui fianchi
fullscreen
Antonio Canova - Danzatrice col dito al mento
fullscreen
Antonio Canova - The surprise
fullscreen
Antonio Canova - The Graces and Venus dance infront of Mars
fullscreen
Antonio Canova - Paolina Borghese Bonaparte as the winning Venus
fullscreen
Thomas Lawrence - Ritratto di Antonio Canova
fullscreen
Antonio Canova - Cefalo e Procri
fullscreen
Antonio Canova - Venus and Mars
Antonio Canova - Venus through the looking glass
Antonio Canova - Venus and Fauno
Antonio Canova -  Venus and Adonis
Antonio Canova - Le Grazie
Antonio Canova - Self-portrait
Antonio Canova - Amorino Lubomirski
Antonio Canova - Creugante
Antonio Canova - Teseo winner on the Centaur
Antonio Canova - Amore e Psiche
Antonio Canova - Teseo sul Minotauro
Antonio Canova - Danzatrice con le mani sui fianchi
Antonio Canova - Danzatrice col dito al mento
Antonio Canova - The surprise
Antonio Canova - The Graces and Venus dance infront of Mars
Antonio Canova - Paolina Borghese Bonaparte as the winning Venus
Thomas Lawrence - Ritratto di Antonio Canova
Antonio Canova - Cefalo e Procri
Antonio Canova - Venus and Mars

Other works on display

Description

At the Nemei games, or the competitions that brought athletes from all cities of Greece to meet every two years in the polis of Nemea, the two protagonists competed: Creugante from Durazzo and Damosseno of Siracusa. Not being a winner, it was decided that each of the two antagonists left in the race could vibrate a single blow to the opponent and thus conclude the grueling duel. The first punched, while the latter, simulating to give his rival a blow on the head, struck him with cruel force on his side, pulling his bowels out and causing him to die. The unfair blow was punished with exile by the horrified judges, while a defeated statue was erected in memory in the temple of Jupiter Lyceum in Arcadia. Creugante is well planted on the spread legs, he holds his right arm with his fist closed over his head, waiting for the opponent's blow. Almost instinctively he prepares for the answer and lends him his side. Damosseno protects his chest with his left arm, as if he wants to shield himself from it. The right hand is open and extended like a blade to deliver the killing blow. His appearance is particularly brutal and aggressive. The gaze conveys inhumanity and ferocity; a violent, ruthless expression and a manifest hatred is drawn on the face. The statues are made according to muscular tensions of considerable plastic suggestion, enclosing in the pose a decisive and snappy physical energy and an imposing character typical of athletes. In fact, a complacent desire to show off a perfectly acquired anatomical science, the result of a daily graphic exercise halfway between private pleasure and severe discipline, is perceptible. Conceived in the same period in which the sculptor conceived the group of Hercules and Lica, the Boxers belong to the phase of maximum expressive tension in Canova's production, landed in unprecedented solutions of heroism and titanic celebration of strength. Avoiding any suspended fixity of action, typical of classical art, he attempted to represent the instantaneous act, synthesizing in a single image a conceptual and gestural complexity. Plaster casts by Creugante were sent by the artist to the main academies of Europe so that the connoisseurs and lovers of fine arts could admire and evaluate, according to the sculptor's words, his "work of a stronger character, since they have not seen any of a sweet and delicate style ». Conceived without commission, it was then purchased by Pope Pius VII in 1801 for the Vatican Museums (hence the inscription on the base "CVRA PII VII") to compensate for the void left by the ancient masterpieces brought to France by the armies. The statue of Damosseno, however, was commissioned by the papal government after the purchase of his companion, to be placed at his side in 1806.

You don't know about Artsupp yet?

Artsupp is the new museum portal that was born to bring together all the highlights from the world of art and Italian museums on a single platform.

About us
spinner-caricamento