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

It is Canova himself, in the exchange of letters with his friend Quatremère de Quincy, who made it known that at the end of October 1816 the artist was engaged in the creation of the clay model, "as big as the real or some what more ”, of the sculptural group of Mars and Venus. The work was commissioned by the Prince Regent of England George IV the year before, who paid double the amount required to ensure the exclusivity of the representation of the subjects. Two plasters were made from the clay form, while the marble, completed in 1822, was delivered to the English royal collections. It is still kept at Buckingham Palace in London. The choice of the subject was made by Canova himself and involved a novelty. The two figures lend themselves to allegorically celebrate the peace finally returned to the whole of Europe, with the end of the Napoleonic epic and the day after the Congress of Vienna. The goddess Venus has always been associated with good luck, well-being, harmony and peace, here is a figure softly posed by soft flesh and legs wrapped in a thin drapery. The goddess of love is poured into her companion's arms, almost intent on distracting him and covering him with flattery. Mars, god of war, is depicted standing, virile, firm in posture, with carefully designed musculature and supporting the spear with his right arm. The shield and sword are placed at their feet, with a cornucopia next to them with fruits placed to symbolize the return of prosperity and abundance guaranteed by the end of the war conflict. The invention of the two naked and tenderly embraced figures takes up, after twenty years, the formal solution of the youth group of Adonis and Venus. Finally, it is interesting to note how the two opposing and powerful forces contrast, but come together in order to create a state of balance.

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