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The sculptor Antonio Canova was the most celebrated artist of a perilously protean and fractious era. In revolutionary and Napoleonic Europe, while other artists bent to the will of the political powers that commissioned their work, producing art in the service of the state, Canova managed to resist both threats and blandishments. Although he held strong opinions on the issues of his day, he avoided direct political or ideological engagement in his sculpture. Christopher M. S. Johns presents the first sustained study of Canova's career in relation to his patrons and contemporary politics. In it he enlarges our understanding of an artist whose work is crucial to the evaluation of European art and political history.
This catalogue is published in conjunction with the exhibition Canova's "George Washington," on view at the Frick Collection, May 23-September 23, 2018, and the Canova Museum.
Heroism after the French Revolution : David's Leonidas at Thermopylae -- Inheriting Greek Eros : Anacreontism and homosexual desire -- Kant and the postrevolutionary subject : the aesthetics of freedom -- Subject and surface : Canova and the reinvention of classical sculpture -- Sade/David, in chains