附註:Includes bibliographical references (pages 237-259) and index.
|g 1. |t Canova's Background, Religious Views, and Cultural Formation -- |g 2. |t Canova's Italianita and a Tale of Two Cities: Venice and Rome -- |g 3. |t Canova and the French from the Ancien Regime to the Restoration -- |g 4. |t Canova, Napoleon, and the Bonapartes -- |g 5. |t Canova and the Austrian Habsburgs -- |g 6. |t "That Illustrious and Generous Nation": Canova and the British -- |g 7. |t "This Great Cavern of Stolen Goods": Canova and the Repatriation of the Papal Collections from Paris in 1815 -- |t Conclusion: Canova's Political Afterlife.
摘要: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.
