Venus Italica
The Venus Italica is a
History
Early 19th century president of the
According to art critic Edward Lucie-Smith the artistic expression of sexual vulnerability is conveyed better than on the original Venus de Medici. Most viewers have noticed Canova's superior craftmanship on marble surfaces and textures. His unique technique and ability to achieve the illusion of human flesh has been called the Direct touch. Canova would eventually begin to display his studio works in candlelight. Intrigued by the effects of the light and shade of the candles on the translucent marble surface Canova soon began to further soften the transitions between the various parts of the statue and rub them down with special tools and pumice stone, sometimes for weeks or months.[6] Finally he would apply an unknown compound of patina onto the flesh of the sculpture to lighten the skin tone. This process has been called the Last touch.[7][8][9][10]
References
- ^ Carolyn Miner (November 1, 2008). "Hearst's Canova: an exhibition in Los Angeles reveals William Randolph Hearst to have been a discriminating as well as an insatiable collector. As Carolyn Miner explains, this is perfectly demonstrated by his pursuit of a great sculpture by Canova, the Venus Italica". GALE. Retrieved January 25, 2020.
- ^ "The Sala di Venere". Polomuseale Firenze. Archived from the original on March 21, 2009. Retrieved January 25, 2020.
- ^ "Venus Italica". Web Gallery of Art. Retrieved January 25, 2020.
- ^ "The Palatine Gallery - Rooms". Art and Monuments of Florence. Retrieved January 25, 2020.
- ^ David Irwin. "Antonio Canova, marchese d'Ischia". Encyclopædia Britannica. Retrieved January 25, 2020.
- ^ "Encyclopaedia Britannica, 11th Edition, Volume 5, CANOVA, ANTONIO (1757-1822)". Project Gutenberg. Retrieved January 25, 2020.
- ISBN 978-1-351-56752-7.
- ISBN 978-0-19-519946-8.
- ISBN 978-83-89101-30-3.
- ^ Consortium on Revolutionary Europe, 1750-1850 (1980). Proceedings. University of Florida Press.
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