Biography of Antonio Canova Sculptor 1757-1822

On 01 Nov 1757 Antonio Canova Sculptor 1757-1822 was born in Possagno Venice.

In 1793 Richard Westmacott 1775-1856 (17) travelled to Rome to study under Antonio Canova Sculptor 1757-1822 (35). Within a year of his arrival in Rome he won the first prize for sculpture offered by the Florentine academy of arts, and in the following year (1795) he gained the papal gold medal awarded by the Roman Academy of St Luke with his bas-relief of Joseph and his brethren.

After 21 Feb 1814. Monument to Amelia Sophia Hume Countess Brownlow 1788-1814 in St Peter and St Paul Church Belton. Sculpted by Antonio Canova Sculptor 1757-1822.

Before 1814. John Rising Painter 1756-1815. Portrait of Amelia Sophia Hume Countess Brownlow 1788-1814. 1813. William Owen 1769-1825. Portrait of Amelia Sophia Hume Countess Brownlow 1788-1814.

Memorials of Francis Chantrey RA Sculptor in Hallamshire and Elsewhere Part V London Life and Works. Montgomery, whose opinions I quote the more freely, not merely because he has himself looked upon sculpture with a poet's eye, but also because he oft endeavoured to excite a similar taste in his gifted friend-says, "Nothing in sculpture is truly excellent but that which is pre-eminently so, because nothing less than the most successful strokes of the happiest chisel can powerfully affect the spectator, fix him in dumb astonishment, touch his heart strings with tender emotion, stir thought from its depths into ardent and earnest exercise. I appeal to all who hear me, whether, among a hundred of the monuments in our cathedrals, and the statues in our public places, they ever met with more than one or two that laid hold of their imagination, so as to haunt it both in retirement and in society? ""Such are the Apollo Belvidere, the Venus de Medici, and other inestimable relics of antiquity; such the Moses and David of Michael Angelo; and such— ( to give an English example worthy to be named with these, judging solely by the power which it exercises over the purest and most universal of human sympathies, -- sympathies which can no more be bribed by artifice than they can help yield ing to the impulse of nature ) -such, I say, is the simple memorial by our own Chantrey (35), in Lichfield Cathedral, of two children that were ‘lovely in their lives, and in death are undivided. Of these specimens, it may be affirmed, that they have shown how the narrow bonds of vulgar precedent may be left as far behind as a star in the heavens leaves a meteor in the air."1 There is not, indeed, a more exquisite group in the whole range of modern sculpture than Chantrey's "Two Children" in marble. The sisters lie asleep in each others arms in the most unconstrained and graceful repose. The snowdrops which the youngest had plucked are undropped from her hand, and both are images of artless beauty, and innocent and unaffected race. Such was the press to see these children in the London Exhibition, that there was no getting near them: mothers, with tears in their eyes, lingered, and went away, and returned; while Canova’s (59) now far-famed figures of Hebe and Terpsichore stood almost unnoticed by their side. Chantrey modelled two other figures of this class, viz., a "Sleeping Child," the daughter of Sir Thos. Dyke Acland; and a "Reposing Infant," for Mr. Boswell, of Auchinleck.

Note 1. "Lectures on Poetry," p. 20.

1831. Henry Pierce Bone Painter 1779-1855 after John Jackson 1778-1831. Portrait of Francis Leggatt Chantrey 1781-1841 in black morning suit, blue waistcoat with gold fob-seal, standing beside the bust of William Hyde Wollaston, F.R.S. (1766-1828) on a plinth signed, dated and inscribed on the counter-enamel 'Francis Chantrey Sculptor. R.A. London 1831. Painted in Enamel Around 1834. Martin Archer Shee Painter 1769-1850. Portrait of Francis Leggatt Chantrey 1781-1841. Around 1834. Martin Archer Shee Painter 1769-1850. Portrait of Francis Leggatt Chantrey 1781-1841. 1818. Thomas Phillips 1770-1845. Portrait of Francis Leggatt Chantrey 1781-1841. Half-length aged 37, holding a modelling tool, his left arm on a marble head; bald head with dark hair at sides, hazel eyes, dark complexion; voluminous grey coat, white filled shirt open at neck and fastened with brooch; statuette of Lady Louisa Russell in left background.

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1817. George Hayter 1792-1871 (24). Portrait of Antonio Canova Sculptor 1757-1822 (59).

In Oct 1817 John Gibson 1790-1866 (27) travelled to Rome where he studied under Antonio Canova Sculptor 1757-1822 (59).

In 1819 Francis Leggatt Chantrey 1781-1841 (37) and John Jackson 1778-1831 (40) travelled together to Italy. In Rome Chantrey met Antonio Canova Sculptor 1757-1822 (61).

1831. Henry Pierce Bone Painter 1779-1855 after John Jackson 1778-1831. Portrait of Francis Leggatt Chantrey 1781-1841 in black morning suit, blue waistcoat with gold fob-seal, standing beside the bust of William Hyde Wollaston, F.R.S. (1766-1828) on a plinth signed, dated and inscribed on the counter-enamel 'Francis Chantrey Sculptor. R.A. London 1831. Painted in Enamel

1819. John Jackson 1778-1831 (40). Portrait of Antonio Canova Sculptor 1757-1822 (61).

In 1822 Joseph Gott 1785-1860 (36) was sent to Rome on a pension from Sir Thomas Lawrence (52) who provided him with a personal letter of introduction to Antonio Canova Sculptor 1757-1822 (64). Gott remained in Rome for the rest of his life.

On 13 Oct 1822 Antonio Canova Sculptor 1757-1822 (64) died.