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The Deceptive Surface: Perception and Sculptures Skin In the the raven tone, eighteenth century, sculptors such as Antonio Canova often experimented with polychromy, using wax or grind water to subtly tint their figures flesh. On Morality. In this article, I examine viewers discomfort with these surface treatments. I argue that viewers reacted negatively to the colored surface of the raven tone, works such as Hebe and Penitent Magdalene because they found it to be deceptive. A History Of General Essay. First, encaustic treatments mellowed the marble surface, giving modern works the the raven, appearance of antiquities. Second, the reality effect created by color threatened sculptures status as high art. Finally, hyper-realism also suggested that the sculptures surface was exactly thatthat is to say, only books has eric walters a surface, a shell that contained the messy reality of the body.

The polychrome surface therefore oscillated between ancient and modern, flesh and stone, penetrable and impenetrable and the raven tone raised larger aesthetic, philosophical and scientific issues. This paper was presented at the Institute of Fine Arts, New York University, as part of the traditional, symposium Surfaces: Fifteenth Nineteenth Centuries on the raven March 27, 2015. Many thanks to how many walters Noemie Etienne, organizer of the symposium, for inviting me to tone participate and Essay Asset Returns Are Predictable Part 2 reflect on the raven the sculptural surface and to Laurent Vannini for how many has eric walters the translation of this article into French. 1 Claire J. Farago, ed. Leonardo da Vincis Paragone: A Critical Interpretation with a New Edition of the raven, (. France. ) 1 Sculpturean art of mass, volume, weight, and density. The Raven Tone. Its very solidity distinguishes it from the art of painting and was one of the reasons painting was viewed as the superior medium by artists of the Essay about Sexuality: God Created, Renaissance.

The paragone , or competition between the two arts, was rooted in Leonardo da Vincis comments, which have become something of a truism now. Painting was characterized as an intellectual craft, while sculpture was largely mechanical. Sculpting was a form of tone, labor that generated sweat and fatigue, and the sculptor was doomed to be forever dirty, covered in marble chips and dust. Worse, his art was not a science, for [t]he simple measurements of members and the nature of movements and on morality poses alone are enough for such an artist, and so, sculpture ends by the raven, demonstrating to the eye only what is what. Painting, on the other hand, was an connecticut, art of illusion, for by the the raven, power of science, demonstrates the grandest countrysides with distant horizons on one flat surface. 1 All this is to Essay Human God Created Woman for Man say, sculpture was criticized for appearing to be the thing itself and for being a medium that could be understood not just by sight, but by touch. 2 What painting and sculpture do have in common, however, is that in the best of both their illusion lies on the raven the surface. Paintings strength rests on its ability to Asset Returns Part 2 create a fictional three-dimensional space on a two-dimensional plane. Sculptures illusionistic success, on the other handparticularly sculpture of the early modern perioddepends on the impression of malleability, of the transformation of marble into soft flesh. This effect was the result of the the raven, sculptors careful manipulation of the on morality, stone surface, his skill with the tools of tone, his tradedramatically visible, for instance, in the dimpled thigh of Gian-Lorenzo Berninis Proserpina (Fig. 1).

Gian-Lorenzo Bernini, Pluto and Essay about Human God Created Woman for Man Prosperina (detail), 1621-22. Marble. Height 2.25 m. Galleria Borghese, Rome, Italy. Image courtesy of the Columbia University Visual Resources Collection. 2 Canovas finishing techniques have received much attention recently.

See, for instance, Hugh Honour (. The Raven. ) 3 A marble surface that appears to be yielding flesh, which then invites the viewer, in turn, to reach out and feel the stone beneath his fingersthis hallmark of success lasted well into the nineteenth century, and of the sculptors in the generations that followed Bernini, it was Antonio Canova who was hailed for his fine workmanship, what was known then as the ultima mano or final touch that he gave to the marble. Yet, in Essay about Sexuality: Woman for Man, addition to his skill with the chisel, Canova was likewise well known for tone his finishing treatments. Clothing. 2 These included the application of wax and grind water, treatments that smoothed out and stained the marble surface. 3 After a visit to Canovas studio in 1799, for instance, General Baron Thiebault remarked, Une chos (. ) 4 To use Alex Potts phrase. See Potts, The Sculptural Imagination: Figurative, Modernist, Minimalist (. ) 5 See Roland Barthes, The Reality Effect, in The Rustle of Language , trans. Richard Howard (Berkele (. The Raven. ) 4 Canova and connecticut his admirers credited these treatments with giving his sculptures translucency and a new softness. The Raven Tone. 3 Not everyone, however, approved. Compromiser. Some of Canovas critics considered them unnecessary, or worse yet, fraudulent.

In this article, I will examine this discomfort with Canovas surface values. 4 Viewers reacted negatively to these treatments because they found them to be deceptive. First, encaustic treatments mellowed the marble surface, giving modern works the appearance of antiquities. Second, the reality effect created by the raven tone, color threatened sculptures status as high art. Has Eric. 5 And third, hyper-realism also suggested that the tone, sculptures surface was exactly thatthat is to say, only a surface, a shell that contained the messy reality of the body. Antonio Canova, Venus and connecticut compromiser Adonis , ca. 1795. Marble. 185 x 80 x 86 cm.

Musee dArt et dHistoire, Geneva, Switzerland. Photo in the public domain. Accessed 31 March 2015. Antonio Canova, Creugas , 1795-1806. The Raven. Marble. Height ca. 2.25 m. Museo Pio Clementino, Vatican Museums, Vatican State.

Photo in the public domain. Accessed 31 March 2015. 5 The number of works that received encaustic treatment at Canovas hand is traditional clothing, significant. 6 For more on Venus and Adonis , see the comments by Augustin Creuze de Lesser in the raven, note 54. For the ful (. ) 7 Joseph Forsyth, Remarks on Antiquities, Arts, and Letters During an of General, Excursion in Italy, in the Year (. ) 8 For more on the different versions of the raven, Hebe , see Norman and Cook, Just a Tiny Bit of Rouge upon th (. ) 9 Ibid., 54-56. Human Woman For Man. 10 One interesting exception is Canovas statue of Paolina Borghese as Venus Victrix ; recent conservat (. ) 6 The Venus in Venus and Adonis , for instance, completed in 1795, was given a slightly yellow tint (Fig. 2), and in 1799 General Baron Thiebault was surprised that the flesh of all of the raven, Canovas sculptures was stained to distinguish it from Essay about Sexuality: God Created Woman drapery. The Raven Tone. 6 A few years later Joseph Forsyth admired the boxer Creugas in the Vatican, which he praised for Essay Asset Returns Are Predictable Part 2 its waxen gloss which dazzles the eye, and gives such illusion to the high finishing, that you imagine the the raven, very texture of the skin in the marble. 7 (Fig. 3) In addition to yellowing the flesh of his figures, Canova sometimes tinted the cheeks and lips of his female sculptures with rouge. This was the case with all four versions of his Hebe as well as the about Stock Asset Part 2, first version of the Penitent Magdalene , currently in the Museo di SantAgostino, Genova. 8 (Figs.

4 and 5) Conservators suggest that the Three Graces in the Victoria and Albert Museum and the raven tone the Ideal Head in the Ashmolean may also have been treated this way. 9 Since, however, Canovas works no longer bear visible traces of color, it is possible that the Essay Stock Are Predictable, list is much longer. 10. Antonio Canova, Hebe , ca. 1800-1805. Marble. Height 161 cm. The Raven. The State Hermitage Museum, St.

Petersburg, Russia. Photo in the public domain. Courtesy of the State Hermitage Museum, St. Petersburg, Russia. Accessed 31 March 2015. Antonio Canova, Penitent Magdalene , 1796. Marble and bronze. Height 94 cm. Museo SantAgostino, Genoa, Italy. Photo in the public domain. Accessed 31 March 2015.

11 According to conservation reports, Apollo and Daphne received a waxy patina in on morality, the seventeenth cent (. ) 12 See Herrmann Fiore, Apollo e Dafne del Bernini al Tempo del Cardinale Scipione Borghese, 98 and N (. ) 7 Canova, however, was not alone in the use of transparent washes. A waxy patina was applied to the flesh of Berninis Apollo and Daphne in the seventeenth century and even the remarkable effect of Plutos hand on Proserpinas thigh was enhanced by a stain applied to her body, dramatizing the distinction between his hard grip and her soft flesh. 11 In the tone, eighteenth century, the practice was even more widespread, and sculptors such as Vincenzo Pacetti, Bartolommeo Cavaceppi, Thomas Banks, Joseph Nollekens, and about Human Sexuality: Woman even Giovanni Battista Piranesi all warmed the tone, surface of marble with patinas made from wax, coffee, tea, tobacco, soot, stone dust and earth. 12. 13 Two particularly egregious dealers were Thomas Jenkins and Robert Fagan. See Brinsley Ford, Thomas (. ) 8 For some artists, such as Bernini, the effect of patination was to highlight the lifelike quality of connecticut compromiser, his works; for others, the aim of such techniques was to approximate the works of antiquity. The Raven Tone. In the eighteenth century in books, particular, ancient sculptures were discovered regularly during excavations in Rome, its surrounding countryside, and Naples, Pompeii and Herculaneum. Many pieces were only fragments and required heavy restoration; surface treatments were used on the modern additions to tone emulate the mellowed tone of the ancient marble. In some cases, unscrupulous dealers passed off completely modern works as antiquities.

13. 14 See Ascanio Condivi, Vita di Michelangolo Buonarroti (1553; Ann Arbor, MI: University Microfilms In (. ) 15 As quoted in Honour, Canovas Studio Practice II: 1791-1822, 219. 16 Noted by Thomas Moore in his diary entry of October 29, 1819, upon a visit to the Museo Pio-Clement (. ) 17 Augustus von Kotzebue, Travels through Italy in the Years 1804 and 1805 , 4 vols. On Morality. (London: Richard P (. ) 9 Of course, there is a long tradition in the history of sculpture whereby the talent of the raven tone, a modern sculptor is established when one of Stock Part 2, his works is the raven tone, taken to be ancient. In many cases, it is compromiser, not just the style of carving that asserts the works antiquity, but also its surface. Michelangelo, for instance, famously made a sleeping cupid, now lost, which was declared to the raven be a work of Praxiteles. Although Michelangelos cupid was made in on morality, a classicizing style, Ascanio Condivis biography of the artist, written in the mid-sixteenth century, pointed out that Michelangelo also treated the the raven tone, piece, corroding its surface so that it appeared as if it had been buried for many years. 14 Almost three hundred years later, viewers of Canovas works likewise understood the deceptive potential of his sculptural surface; the Baron dUklanski, for instance, noted that the yellow tinge [of Canovas sculptures gave] them a colour similar to that of Essay Part, parian marble, and an appearance of the raven tone, antiques. 15 Often, the supposed antiquity of the weathered surface was reinforced by the thrill of discovery. How Many Books Has Eric. If Canovas works were literally unearthed, for the raven tone instance, their quality would be undeniable. On Morality. The English sculptor Sir Francis Chantrey claimed that if Canovas Creugas were buried and exhumed, it would produce a great sensation. 16 Augustus von Kotzebue was even more cunning.

He wished the sculptor would bury a work that could be then discovered by the raven tone, accident. No doubt it would be believed to be a work by Phidias, he wrote, and would lay to rest any criticisms about Canovas talent. 17. Antonio Canova, Theseus and the Minotaur , 1782. Marble. 145.4 cx 158.7 x 91.4 cm. Victoria and Albert Museum, London, purchased with the on morality, assistance of the raven, The Art Fund. Photo Victoria and A History Anesthesia Albert Museum, London. 10 While Canova did not bury his sculptures to age them, he did collude with patrons to pass of his works as antiquities. After completing Theseus and the Minotaur in 1782, and the raven before its public exhibition, the Venetian Ambassador, Girolamo Zulian, invited artists, men of letters and others to a gathering to dramatize the works unveiling. (Fig.

6) A model of Theseus head, prepared by Canova, was placed on about Stock Asset Are Predictable display for the guests, all of whom: 18 J. The Raven. S. Essay Human Sexuality: God Created For Man. Memes, Memoirs of Antonio Canova, with a Critical Analysis of the raven tone, his Works, and an Historical Vi (. ) were agreed that the cast must have been taken from a work of france traditional, Grecian sculpture, and of great merit; but they were divided on the raven what it represented, and where the original was to be found. On Morality. Some affirmed that they had seen it in such a collection;some said it was in a different gallery;part maintained that such a personage of antiquity was pourtrayed; others asserted a contrary statement;in short, all acknowledged the tone, beauty of the piece was the only common sentiment which experienced no opposition. Seizing the proper occasion, when he perceived every one to be thus deeply interested in the affair, Ebbene, said the Essay about Stock Are Predictable Part, Ambassador, andiamo a vederne loriginale,Come, let us terminate these disputes by going to see the original. 18. 11 The guests naturally were shocked to the raven tone think that the ancient sculpture they had been admiring was in possession of Essay Human Sexuality: for Man, their host and, moreover, that it was a modern work by Canova. Antonio Canova, Venus with a Mirror , ca. 1780-1796. Oil on tone canvas. 134 x 177 cm.

Casa del Canova, Possagno, Italy. Photo from Antonio Canova: Arte e Memoria a Possagno . Ponzano (Treviso): Vianello, 2004. pp. 53-54. 19 That said, throughout his career, Canova often made sculptures that emulated well-known ancient wor (. ) 20 Questo quadro resto per piu anni in un angolo dello studio, finche per la patina della polvere e d (. ) 21 Memes, Memoirs of Antonio Canova, with a Critical Analysis of his Works, and an Historical View of (. ) 22 Gilbert Bagnani compares intentionally forged works with fakes in reversethat of objects or doc (. ) 12 While Theseus and the Minotaur is the only sculpture Canova deliberately presented as an antiquity, early in about Part 2, his career he also experimented with painting and its deceptive surface. 19 Sometime in the early 1780s, while at work on the Monument to Clement XIV , Canova completed the the raven, painting of a Venus, a reclining nude with a mirror, which he subsequently left propped up in an obscure corner of on morality, his studio. (Fig. Tone. 7) Over time, a patina of Essay about, dust and dirt accumulated on the surface of the painting, giving it the appearance of the raven, a much older work. 20 Once rediscoveredand reworkedby him, careful attention to its finish further reiterated the paintings supposed antiquity, for in the has eric walters written, ornaments and accessories, [] slight cracks and other effects of the raven, time were skillfully imitated. 21 When Canova finally showed the painting to Sexuality: God Created his patron Don Abbondio Rezzonico, a member of the the raven tone, Roman senate and of General Anesthesia nephew of Clement XIII, and the painter Stefano Tofanelli both of them believed it was a Renaissance work. Tone. 22.

23 [. ] lo termina in on morality, modo, che sembrava un vecchio dipinto. See dEste, Memorie di Antonio Canova , (. ) 24 For more accounts of Canovas fakes, see Missirini, Della Vita di Antonio Canova: Libri Quattro , (. ) 25 For the reception in the raven tone, Naples of Canovas painting in the manner of on morality, Giorgione, see the the raven, letters from connecticut compromiser R (. The Raven Tone. ) 13 His success at this first attempt motivated Canova to begin painting again, and this time he set out deliberately to fool his audience. Having heard of Essay Asset Returns Are Predictable Part, a lost self-portrait by Giorgione, Canova decided to recreate the the raven tone, work. Essay Human For Man. He obtained a fifteenth-century painting from an antiquarian, a bad copy of the holy family, and used prints and a literary description as his guide. Canova carefully imitated Giorgiones style, finishing it in such a way that it appeared to be an old painting. 23 His biographers recount similar tales with regard to at least three different paintings, all of which misled the audience into thinking they were Venetian Renaissance works. 24 These anecdotes are in turn confirmed by private correspondence, including an exchange of letters between Canova and his friend, the Venetian architect Giannantonio Selva, from 1796. The Raven Tone. 25.

26 Artists are chiefly supported by English travellers, who usually follow Mr. GRAYs advice, and A History of General Anesthesia Essay buy (. ) 27 Giandomenico Spinola, La Manipolazione dellAntico tra Restauro e Falso: Esempi dai Musei Vaticani (. ) 28 Emphasis added. He continues, .But many of the names given to the marbles and bronzes in this qua (. ) 14 In every case I have just described, viewers were misled by the element which would so obsess Canova throughout his careernamely, the surface or finishing of the work. It is on the surface of the the raven, work where the deception occurs; after all, it was the finishing that made Canovas false Giorgione look old. While Canovas ruses were primarily designed as connoisseurship games, the Essay Human for Man, dynamic art market in eighteenth-century Italy, particularly the high demand for ancient sculpture, meant that the deceptive capacity of an the raven tone, art works surface became increasingly problematic.

With both Grand Tourists and on morality newly founded museums seeking classical statuary for the raven tone their collections, demand far outstripped supply and the prevalence of fakes became a real economic problem. Peter Beckford, on compromiser his 1787 trip to Rome, made the the raven, financial repercussions of such fraud clear, warning future visitors to the city to beware of copied paintings, antiques made just for france traditional them, and fake medals and pearls. The Raven Tone. 26 Much more problematic, however, were the connecticut compromiser, fakes that were being institutionalized in the new museums. Works of dubious origin, or fragments that were restored into the raven tone, complete objects, were making their way into these institutions, meant to on morality be the bastions of the very best works of art of the ancient world. The Raven. Although it is true that in the eighteenth century it was only restored and completed objects that were considered for purchase for the museums, it is equally true that restorers and has eric dealers misrepresented the ancient status of certain sculptures in order to make the sale. Recently Giandomenico Spinola has pointed out several modern works that were knowingly sold to the Vatican as antiquities, including a bust of Sabina, and Herakles Bibax , purchased in ca. 1775 and 1803, respectively. 27 By the mid-nineteenth century, awareness that some works were indeed forgeries penetrated the consciousness of visitors. Tone. John Broughton, for instance, turned his critical eye on the Capitoline Museum, lamenting, The antiquities of the Conservators palace if they were all authentic, would be the Essay, most interesting of Roman remains. At least, he admitted with resignation, the modern works carry no such uncertainty. 28. 29 Ces accessoires, ainsi colores, me semblent faire une disparate choquante avec le reste de la stat (. ) 30 See Antoine-Chrysosthome Quatremere de Quincy, Le Jupiter Olympien, ou, lart de la sculpture antiq (. ) 31 Quelques-uns se sont recries sur lemploi que M. Canova a fait dun peu de dorure dans lenjolivem (. ) 32 In Plinys Natural History , for instance, he cites Praxiteles admiration for the painter Nicias, w (. The Raven. ) 33 Elle tient a la main une coupe doree, idee que je napprouve rien, quoique les anciens laient eue (. ) 34 Le bandeau des cheveux de la Deesse [ Hebe ], laiguiere et la coupe quelle teint dans ses mains, s (. ) 35 Againthere is a trickery and on morality quackery in the finishing of Canovas statues, which is below the di (. Tone. ) 36 See note 37 for the full text. M.B., Beaux-Arts.

Salon de 1808. N. XVIII. Sculpture. How Many Has Eric Written. M. Canova, 3 (. ) 37 The anonymous writer of The New Monthly Magazine cited these criticisms, but ultimately defended Ca (. ) 38 Canova strives, by the kind of the raven, polish which he gives to written his works, to produce in the spectator an tone, (. ) 39 Cet habile statuaire [Canova] se sert, avec beaucoup dadresse, dun moyen peu usite, pour donner (. ) 15 If the A History of General, sculptural surface could deceive viewers by tone, creating the on morality, aura of antiquity, so too could it suggest the oppositethat is to say, call attention to the works modernity. The Raven. Two examples here suffice. Hebe and Penitent Magdalene were both exhibited at how many books has eric walters written, the Parisian Salon of 1808, along with two other works by tone, Canova, Madame Mere and Standing Cupid and Psyche . Connecticut. The skin of the raven tone, both was, as I have already mentioned, tinted yellow and both also had red lips and connecticut compromiser cheeks. Moreover, both also had bronze accessories: Hebe , for the raven tone instance, wore a gilded headband and held a golden cup and vase in her hands, while Penitent Magdalene ruminated over a bronze cross.

Both roused ire in critics. Connecticut Compromiser. To begin, Canovas use of bronze was a flashpoint of criticismVictorin Fabre, writing for the raven the Mercure de France, for instance, found Magdalenes cross a shocking contrast with the rest of the sculpture. 29 The introduction of metal into a marble work, however, was at least partially justified by a nascent understanding of the use of polychromy in connecticut, antiquity. The Raven Tone. In 1804, Quatremere de Quincy, for instance, gave a series of lectures on the subject at the Institut de France, and in 1815 he published an illustrated treatise, Le Jupiter Olympien . 30 Ironically, however, while Quatremere defended Canovas use of mixed media by arguing his artistic practice was true to A History of General Anesthesia Essay the methods used by the ancients, the same understanding was not extended to the raven the painted surface. Essay About God Created. 31 Despite literary sources which suggested sculptures were painted, such as Plinys Natural History and Vitruvius De Architectura, not to mention growing archaeological evidence, the use of color was still viewed with suspicion. 32 Augustin Creuze de Lesser, who saw one version of Hebe in the raven tone, Canovas studio in 1802 argued that from the moment one admitted two colors into compromiser, sculpture, one must admit them all. 33 For other writers, the the raven, yellowed skin and pink cheeks and lips reflected Canovas artifice 34 and were no more than trickery and quackery. 35 More worrisome was the way they threatened the status of on morality, sculpture itself, a concern repeatedly expressed by critics. For instance, such techniques were not worthy of the raven tone, sculptures gravitas . 36 The use of color was Canovas misguided attempt to impart to his statues an air of reality and of heightening their resemblance to nature by artificial means unconnected with the Stock Asset Returns Are Predictable Part, province of sculpture. 37 Polychromy seemed expressly calculated to tone heighten the Anesthesia, pleasure of the amateur, who is more susceptible of enthusiasm, and frequently measures the perfection of a work by the degree of satisfaction which it affords him. 38 Canovas influence was also to fear: other sculptors might imitate Canovas technique, and in tone, so doing destroy the noble simplicity, the frankness of composition, and even the very style which form the A History of General, principal character of the raven, great works of sculpture. 39. 40 If the connecticut, business of Sculpture were to administer pleasure to ignorance, or a mere entertainment to (. ) 41 Johann Gottfried Herder, Sculpture: Some Observations on Shape and Form from Pygmalions Creative D (. ) 42 Johann Joachim Winckelmann, History of the Art of Antiquity , ed. Tone. Alex Potts, trans. Harry Francis M (. ) 16 The criticisms leveled at france clothing, Canovas sculptures in the 1808 Salon echoed the writings of theorists and the raven philosophers across the continent that had been expressed decades earlier.

In his Discourses , for instance, Joshua Reynolds argued that the admiration of on morality, sculpture was rooted in the raven tone, intellectual pleasure and on morality the contemplation of perfect beautythe addition of the raven, color transformed the art into mere entertainment to traditional clothing the senses. 40 In 1778, Johann Gottfried Herder claimed that color rendered sculpture ugly because sculptures essence was rooted in form and meant to be experienced through touch. 41 And, of course, in his 1764 History of the Art of Antiquity, Winckelmann himself wrote that color contributes to beauty but is the raven, not beauty itself. [] a beautiful body will be all the more beautiful the Essay about Stock 2, whiter it is. 42. 43 Charlotte A. The Raven Tone. Eaton, Rome, in on morality, the Nineteenth Century; Containing a Complete Account of the the raven, Ruins of (. ) 17 Common to Anesthesia Essay all these criticisms, be they written by philosophers, theorists, or art critics, was the fear that coloring the the raven, marble surface breached the very province of the medium; that is to on morality say, coloring sculpture somehow lessened not just the individual work, but the austerity and seriousness of the art as a whole. Color threatened to make the art of sculpture appealing to a new class of viewersto amateurs who might be pleasedor worse, entertainedby the medium. By the early nineteenth century, as the streets of European cities were overrun with spectacles and new forms of popular amusements, there was real danger that sculpture itself might become just one more entertainment among many; the distance between the Salon and the wax museum was perilously small.

Even writers who were not art critics, such as Charlotte Eaton, who traveled through Europe in 1817, understood the implications. She objected to the practice of staining marble in a misguided attempt to achieve life, calling it a form of charlatanism. If, she wrote, however, this painting of statues was introduced in the vain attempt to create a nearer approach to the raven tone living nature, the objects of sculpture seem to of General Essay have been strangely mistaken and debased. Most certainly they do not consist in the close imitation of the raven, life; for, in clothing, that case, a common raree-show of wax-work would exceed the finest sculpture of Phidias. 43. 44 This interest in animation remained powerful well into the nineteenth century. Recent scholarship w (. ) 18 Eatons comments bring me to the final section of this article, in which Id like to explore this issue of the close imitation of the raven, life. I want to consider the the reality effect created by the colored surface in relation to the issue of A History Essay, artificial life, and, more specifically, the suggestion that there might be more underneath sculptures skin than marble alone. The potential to breathe life into inanimate matter revealed itself in two interwoven interests in the eighteenth century, particularly in eighteenth-century Francea profound concern with the Pygmalion myth and philosophical theories of animation. The Raven. A number of eighteenth-century philosophersPierre Bayle, Julien Offray de la Mettrie, and Etienne Bonnot, Abbe de Condillac, among othersall reflected on the ability to create life in an inanimate body; this has, in turn, been of great interest to scholars today, as has the erotic relationship between the creator and his animated subject. 44. 45 See Hersey, Falling in Love with Statues: Artificial Humans from Pygmalion to the Present , 99-102 a (. ) 46 For this purpose, we imagined a statue constructed internally like ourselves, and animated by A History Anesthesia Essay, a mi (. The Raven Tone. ) 19 The majority of these eighteenth-century materialist philosophies revolved around a central ideanamely, given that all matter is made of the same atoms, it is france clothing, only the the raven, difference in the structure or arrangement of the atoms that differentiates animate from inanimate objects. It should be possible, therefore, to on morality use some sort of tone, transforming energy to alter the atomic structure of on morality, dead, or non-living, matter and produce life.

45 Often, sculptures were used as the example of the raven, inanimate matter that could be transformed, presumably because of their lifelike form. Connecticut Compromiser. In his 1754 Treatise on the raven tone the Sensations , for instance, de Condillac envisioned an Anesthesia, experiment in which a statue experiences each of the five senses individually, in succession, and then in combination with one another. In his dedication, he asks us to imagine a statue constructed internally like ourselves, and animated by a mind which as yet had no ideas of the raven, any kind. 46 As the senses are activated by him, the connecticut compromiser, statue experiences cognition and memory; in effect, the the raven tone, statue comes alive. What interests me most about how many, this experiment, however, is the way de Condillac imagines the marble exterior of the statue as a barrier which prevents the use of the senses until it is the raven, breached by him. In his vision, the statue is effectively a shell, not a solid, impenetrable mass. 47 As cited in Hersey, Falling in Love with Statues: Artificial Humans from Pygmalion to the Present , (. ) 48 O vid, Metamorphoses, trans.

Anthony S. Kline, Book X, 243-297, Orpheus Sings: Pygmalion and the St (. ) 20 Given the widespread interest in animation, the concomitant popularity of the Pygmalion myth during the connecticut compromiser, eighteenth century is no surprise. Andreas Bluhm cites 142 examples of the myth in theater and the fine arts between 1500-1900, with more than half of the raven, them created between 1700-1800. 47 In the myth, best known via Ovids version, Pygmalion creates the statue of a beautiful woman out of ivory. He is so enamored of her that he caresses her, gives her gifts, and asks Venus for a bride similar to his ivory girl. Venus, hearing his plea, gives the statue life so that the stone lost its hardness, altering under [Pygmalions] fingers, as the bees wax of Hymettus softens in Essay about Human God Created for Man, the sun, and is moulded, under the thumb, into many forms []. But malleable flesh is the raven, not the about God Created Woman for Man, only way that the the raven tone, statues animation is recordedher pulse throbbed under his thumb and on morality when he kisses her, she blushes. 48.

49 Ibid., Book X, 220-242, Orpheus Sings:The Propoetides, http://ovid.lib.virginia.edu/?trans/?Metamor(. ) 21 The role coursing blood played as a signifier of life is all the tone, more significant when the background of the Pygmalion myth is considered. What most people dont remember about Ovids story is the reason Pygmalion makes the statue to connecticut begin with: he had been living as a bachelor, since he was offended by the Propoetides, women of the city of Amathus. The Raven. The Propoetides had dared to deny Venus as their deity; in punishment, she forced them to prostitute themselves. They lost their sense of shame, and, as a result, their ability to blush; the blood hardened in A History Anesthesia Essay, their cheeks, and only a small change turned them into hard flints. 49 When their blood stopped circulating, they were, essentially, turned to tone stone. 50 Some contemporary reports suggest that Corday was not, in fact, slapped. Regardless of the historic (. ) 22 Blushing, I would argue, becomes a symbol for has eric walters the living body in eighteenth-century versions of the myth. Color suggested that the interior of the sculpture had been transformed; within the marble shell- now turned flesh- a heart was beating and blood was circulating. In paintings of Pygmalion, it became routine to tone signify Galateas transformation from sculpture to on morality living woman through the use of pink flesh juxtaposed with white stone. Jean Raoux (1717), Louis-Jean Lagrenee (1777), Laurent Pecheux (1784), and the raven Louis Gauffier (1797) all rendered the transformative moment the same way; pink stood for vitality, a trope repeated in nineteenth- and france traditional twentieth-century depictions of the myth as wellone of the best known, for example, is the painting by Anne-Louis Girodet from 1817, which was itself an homage to Canova. (Fig. 8) But the most dramatic example of the blush as the demarcation between life and the raven death is Essay about Human, a historical one.

Charlotte Corday, best known, of the raven, course, for assassinating the French revolutionary Jean-Paul Marat on July 13, 1793, was guillotined for Essay Asset Part her crime four days later. After she was decapitated, the executioner reportedly picked up her head and slapped her across the cheek. The Raven Tone. Corday is said to have blushed in response.50. Anne Louis Girodet de Roussy-Trioson, Pygmalion and compromiser Galatea , 1817. Oil on canvas. 2.53 x:2.02 m. Musee du Louvre, Paris. Photo in the public domain. Accessed 31 March 2015. 51 Ibid., 119. The Raven. 52 Daniel Arasse, The Guillotine and france clothing the Terror , trans.

Christopher Miller (London: Allen Lane, The Pe (. ) 23 Cordays blush may be interpreted both in moral termsan expression of shame over the raven her crimeand physiological ones, 51 and certainly the on morality, incident contributed to tone debates over on morality how long an tone, individual remained conscious after being decapitated. 52 Moreover it was just one of many gory examples from the Revolutionary period where blood signified the transition from life to death. While this manifested in a blush for Corday, equally striking is the example of the decapitated head of Louis XVI being shown to on morality the crowd; in most of the tone, popular prints of the A History Anesthesia Essay, event, blood is the raven tone, shown streaming from his severed neck. (Fig. 9) Georg Heinrich Sieveking, Execution of A History Anesthesia, King Louis XVI of France, January 21, 1793 . Engraving.

Musee Carnavalet, Paris. Photo in the raven tone, the public domain. Accessed 31 March 2015. 53 Letter from Lucchesi Palli to Canova, n.d. About Sexuality: God Created Woman For Man. [1795]. Il marmo e trattato con tale industria, che la (. The Raven. ) 24 With episodes such as this in mind, then, it is clear that the Human God Created for Man, waxed and colored marbled surface of the raven tone, Canovas works could be interpreted as a skin, beneath which ran the how many books has eric written, blood of life. The stone that viewers saw might not be solid and unyielding after all; it might be mere surface, a permeable epidermis, containing the messy, if vital, reality of the body. Tone. And reactions to Canovas work do suggest an understanding that the surface of his sculptures could be breached. When Giuseppe Lucchesi Palli saw Venus and Adonis in Essay Stock Asset, 1795, for instance, he was moved to do more than simply touch the work. The marble is treated with such industriousness, he wrote, that the surface positively seems to be human skin, and the raven one is tempted to prick it with a pin to see if it bleeds. 53 Augustin Creuze de Lessers response to the sculptures polychromy was less complimentary. When he entered the temple that housed the group, he was: 54 Jai vu a Naples un autre essai de ce systeme de Canova, et beaucoup moins heureux encore a mon av (. ) disagreeably struck by a large band, white as snow, that wrapped around the waist of this goddess.

I believed at first that it was a cloth with which someone with a ridiculous sense of modesty had covered the sculpture, and of General Anesthesia I asked to remove it, but when I got closer I saw that Canova had profited from the the raven tone, range of shades that was inherent to the whiteness of the marble in traditional, order to conceal his Venus a little. I asked myself what this cloth was doing so close to Adonis. Moreover, white cloth only immediately revealed a Venus that was all gray. Finally that which should have set me straight immediately was that this cloth was positioned in such a way that unless it was held in place by tone, pins stuck in on morality, the flesh of Venus herself, it was impossible for it to stay on; but Venus pose was so tender that one could also imagine that in the raven tone, a moment the veil would fall. 54.

55 Quand M. Canova lui-meme emprunterait la palette du Titien, pour ajouter dans toutes les parties d (. ) 25 While it is unclear whether Creuze de Lesser understood that Canova had achieved this effect through waxes and oils, rather than simply taking advantage of the particularities of that piece of france, marble, both he and tone Lucchesi Palli read the compromiser, marble surface as a penetrable skin that could be pierced by tone, pins. The red tint Canova used on his female sculptures cheeks and lips could also be misinterpreted. Essay. Years later, in response to the 1808 Salon, one critic referred to the raven tone the way Canova had placed a rather strong carmine tint on the interior of Hebes mouth. 55 Given that Hebes lips are barely parted, it is likely that this critic misread Hebes lipstick as an orifice; in so doing, he suggested that the Essay Sexuality: God Created for Man, sculptures interior was composed of soft tissue. 56 See, for instance, Roberta Panzanelli, Compelling Presence: Wax Effigies in Renaissance Florence, (. ) 57 Uta Kornmeier, Almost Alive: The Spectacle of Verisimilitude in Madame Tussauds Waxworks, in the raven tone, Eph (. About Asset Returns Part 2. ) 58 Joan B. Landes, Wax Fibers, Wax Bodies, and the raven tone Moving Figures: Artifice and Nature in Eighteenth-Cent (. ) 26 The stained marble surface, then, could be interpreted as a penetrable skin, beneath which lay complex human anatomy and coursing blood. This, in turn, could be read in two ways. On the hand, the colored stone recalled the myth of Pygmalion, and thus had a life-affirming quality. France Clothing. Inanimate sculpture held the potential to the raven be animated; it held the connecticut compromiser, potential for life. On the other hand, the hyper-realistic body also threatened the opposite; that is, where there is life, there is also death and decay. Indeed, colored wax had often been used in sculpture for the raven tone funeral rites; effigies and votives were placed on corpses or left in churches in a tradition that went back to the Renaissance, if not earlier. 56 In the how many books walters written, years following the French Revolution, even amusements like Madame Tussauds waxworks gained their popularity not because of their depiction of living individuals, but rather, their focus on tone the dead, particularly Louis XVI and martyrs of the about Human Sexuality: for Man, Terror. 57 Perhaps even more indicative of the raven tone, way the colored surfaceparticularly the wax surfaceoccupied the liminal territory beneath life and death were the about Woman for Man, anatomical waxes that proliferated during the eighteenth century.

These revealed the sculptural surface to tone be a literal skinflesh could be removed and compromiser the body within placed on display. The Raven Tone. (Figs. 10-11) Moreover, sometimes they were made from plastinated corpses themselves, freezing the body forever in a tableau that straddled animation and death. 58. Workshop of Clemente Susini and about Stock Returns Are Predictable Giuseppe Ferrini, Pregnant female with removable skin and abdominal layers [also known as the Anatomical Venus ], 1770-1775. Metal or wood skeleton, transparent and colored waxes. Tone. Museo di storia natural, sezione zoological La Specola, Florence, Italy.

Photo from Lyle Massey, On Waxes and Essay Sexuality: Wombs: Eighteenth-Century Representations of the Gravid Uterus. In Ephemeral Bodies: Wax Sculpture and the Human Figure , edited by Roberta Panzanelli, 83-105. Tone. Los Angeles, CA: Getty Research Institute, 2008. pp. 84-85. Workshop of Clemente Susini and Giuseppe Ferrini, Pregnant female with removable skin and abdominal layers [also known as the Anatomical Venus ], 1770-1775. Essay About Asset Returns Part 2. Metal or wood skeleton, transparent and the raven tone colored waxes.

Museo di storia naturale, sezione zoological La Specola, Florence, Italy. Photo from Lyle Massey, On Waxes and on morality Wombs: Eighteenth-Century Representations of the tone, Gravid Uterus. Essay About Human Sexuality: God Created For Man. In Ephemeral Bodies: Wax Sculpture and the raven the Human Figure , edited by Roberta Panzanelli, 83-105. Los Angeles, CA: Getty Research Institute, 2008. p. 87. 59 Charles Baudelaire, The Salon of 1846, Art in Human God Created Woman, Paris, 1845-1862: Salons and Other Exhibitions , ed. The Raven. (. ) 27 In the eighteenth century, then, the representation of the human body in sculptural formparticularly in polychrome sculptural formbecame the focal point for larger aesthetic, philosophical and connecticut compromiser scientific inquiries. Although by the mid-nineteenth century Charles Baudelaire would declare that sculpture was boring, the colored surfaces oscillation between ancient and tone modern, flesh and stone, and penetrable and impenetrable reveal that for earlier generations, it was anything but. 59 Moreover, fascination with the deceptive possibilities of the Essay Asset, sculptural surface, and the disjunction between a sculptures surface and it core, have remained a site of exploration for contemporary artists. The Raven Tone. From Duane Hansons hyper-realistic sculptures from the 1970s and 80s, in connecticut, which a lifelike skin created from fiberglass and resin sometimes enfolds a meticulously crafted bronze cast, to tone Kiki Smiths flayed Virgin Mary (1992) which reduces the mother of Christ her most carnal state, the sculptural surface toes the line between life and death and becomes a site where faith and Essay about Returns 2 science, and promise and horror, meet.

Aldrovandi, Alfredo, Mauro Matteini, Arcangelo Moles, Ulderico Santamaria, and the raven Giuseppina Vigliano. Apollo e Dafne : Indagini Scientifiche per lo Studio delle Superfici. In Apollo e Dafne del Bernini nella Galleria Borghese , edited by connecticut, Kristina Herrmann Fiore and Araldo De Luca, 161-69. Milano: Silvana Editoriale, 1997. Arasse, Daniel. Tone. The Guillotine and the Terror . Translated by Christopher Miller. London: Allen Lane, The Penguin Press, 1989. Bagnani, Gilbert. On Fakes and Forgeries. Phoenix 14.4 (Winter 1960): 29. Barthes, Roland. The Reality Effect. Translated by on morality, Richard Howard. In The Rustle of tone, Language , 141-48. Berkeley: University of of General Anesthesia Essay, California Press, 1986. Baudelaire, Charles. The Raven Tone. The Salon of 1846. In Art in Paris, 1845-1862: Salons and Other Exhibitions , edited by Jonathan Mayne. 2nd ed., 41-120.

Landmarks in Art History. Oxford Oxfordshire: Phaidon, 1981. 1846. Beckford, Peter. Familiar Letters from about Woman for Man Italy, to a Friend in tone, England . 2 vols. Salisbury: Printed and sold by J. Easton, 1805.

Bignamini, Ilaria. On Morality. I Marmi Fagan in tone, Vaticano: La Vendita del 1804 e Altre Acquisizioni. Bolletino Monumenti, Musei e Gallerie Pontificie 16 (1996): 331-94. Bindman, David. Warm Flesh, Cold Marble: Canova, Thorvaldsen and Their Critics. New Haven: Yale University Press, 2014. Broughton, John Cam Hobhouse. Italy; Remarks Made in Several Visits, from the Year 1816 to 1854. 2 vols.

London: J. Of General. Murray, 1859. Caracciolo, Elisabetta, and Elisabetta Zatti. The Raven Tone. Il Restauro della Sala di Paolina Bonaparte = the Restoration of the how many has eric walters, Room of Paulina Bonaparte. In Venere Vincitrice: La Sala di Paolina Bonaparte alla Galleria Borghese , edited by Claudio Strinati, 141-53, 215-19. Roma: Edizioni dellElefante, 1997. . The Raven. Il Restauro delle Sculture. In Apollo e Dafne del Bernini nella Galleria Borghese , edited by Kristina Herrmann Fiore and Araldo De Luca, 149-59. Milano: Silvana Editoriale, 1997.

Carr, J. L. Pygmalion and france the Philosophes : The Animated Statue in Eighteenth-Century France. Journal of the Warburg and Courtauld Institutes 23, no. The Raven Tone. 3/4 (Jul-Dec. 1960): 239-55. Catterson, Lynn. France Traditional Clothing. Michelangelos Laocoon ? Artibus et Historiae 52 (2005): 29-56. Cesareo, Antonello. He Had for Years the Guidance of the Taste in tone, Rome: Per un Profilo di Thomas Jenkins. In Collezionisti, Disegnatori e Teorici dal Barocco al Neoclassico , edited by Elisa Debenedetti. Studi sul Settecento Romano; 25, 221-250. About Returns 2. Rome: Bonsignori Editori, 2009. Chantelou, Paul Freart de.

Journal de Voyage du Cavalier Bernin en France . The Raven Tone. Edited by Milovan Stanic Paris: Macula-Insulaire, 2001. Cicognara, Leopoldo. Biografia di Antonio Canova . Traditional Clothing. Venezia: Editore Giambattista Missiaglia, 1823. Condillac, Etienne Bonnot de. Condillacs Treatise on the Sensations . Translated and the raven edited by Margaret Geraldine Spooner Carr. London: The Favil Press, 1930. 1754. Condivi, Ascanio. Connecticut Compromiser. Vita di Michelangolo Buonarroti . Ann Arbor, MI: University Microfilms International, 1976.

1553. Creuze de Lesser, Augustin. Voyage en Italie et en Sicile, Fait en MDCCCI et MDCCCII . Paris: de lImprimerie de P. The Raven. Didot lAine, 1806. dEste, Antonio. Memorie di Antonio Canova . About Human Sexuality:. Edited by Paolo Mariuz. Bassano del Grappa: Istituto di ricerca per gli studi su Canova e il neoclassicismo, 1999. 1864.

Dennis, Kelly. Art/Porn: A History of Seeing and the raven tone Touching . Oxford and New York: Berg, 2009. Eaton, Charlotte A. Rome, in the Nineteenth Century; Containing a Complete Account of the Ruins of the Ancient City, the Remains of the traditional clothing, Middle Ages, and the raven tone the Monuments of Modern Times. 5th ed. Walters. 2 vols. London: H. G. Bohn, 1852.

1820. Fabre, Victorin. Tone. Salon de peinture. Huitieme article. Sculptures. Mercure de France, journal historique, politique et litteraire (24 Decembre 1808): 603-12. Farago, Claire J., ed. Anesthesia Essay. Leonardo da Vincis Paragone: A Critical Interpretation with a New Edition of the Text in the Codex Urbinas.

Leiden and New York: E.J. Brill, 1992. Fardella, Paola. Antonio Canova a Napoli: Tra Collezionismo e Mercato. The Raven Tone. Napoli: Paparo, 2002.

Ferando, Christina. Staging Neoclassicism: Antonio Canovas Exhibition Strategies for Triumphant Perseus . In Das Originale der Kopie: Kopien als Produkte und Medien der Transformation von Antike , edited by on morality, Tatjana Bartsch, Marcus Becker, Horst Bredekamp and Charlotte Schreiter. Collaborative Research Centre, 139-63. Berlin: de Gruyter, 2010. Fernow, Carl Ludwig. Tone. Account of the Life and Works of M. Canova, the Celebrated Italian Sculptor. The Monthly Magazine, or, British Register XXIV, no. On Morality. 160 (August 1, 1807): 43-48. Ford, Brinsley. Thomas Jenkins: Banker, Dealer and Unofficial English Agent. Apollo 99, no. 148 (1974): 416-25. Forsyth, Joseph. Remarks on Antiquities, Arts, and Letters During an Excursion in Italy, in tone, the Years 1802 and france 1803 . Edited by Keith Crook.

London; Newark; Cranbury, NJ: University of Delaware Press; Associated University Presses, 2001. 1813. Herder, Johann Gottfried. Sculpture: Some Observations on tone Shape and Form from Pygmalions Creative Dream . Translated and france traditional edited by Jason Gaiger. Chicago: University of Chicago Press, 2002.

1778. Herrmann Fiore, Kristina. Apollo e Dafne del Bernini al Tempo del Cardinale Scipione Borghese. In Apollo e Dafne del Bernini nella Galleria Borghese , edited by the raven, Kristina Herrmann Fiore and Araldo De Luca, 71-109. Sexuality: Woman. Milano: Silvana Editoriale, 1997. Hersey, George L. Falling in Love with Statues: Artificial Humans from Pygmalion to the Present. Chicago: University of Chicago Press, 2009. Honour, Hugh. The Raven Tone. Canovas Studio Practice II: 1791-1822. The Burlington Magazine 114, no. 829 (April 1972): 214-29.

Kornmeier, Uta. Almost Alive: The Spectacle of Verisimilitude in Madame Tussauds Waxworks. In Ephemeral Bodies: Wax Sculpture and the Human Figure , edited by Roberta Panzanelli, 67-81. On Morality. Los Angeles, CA: Getty Research Institute, 2008. Kotzebue, Augustus von. Travels through Italy in the Years 1804 and the raven 1805 . 4 vols. London: Richard Phillips, 1806. Landes, Joan B. About Returns Part 2. Wax Fibers, Wax Bodies, and Moving Figures: Artifice and Nature in Eighteenth-Century Anatomy. In Ephemeral Bodies: Wax Sculpture and the Human Figure , edited by the raven tone, Roberta Panzanelli, 41-65. Los Angeles, CA: Getty Research Institute, 2008. Lettere Familiari Inedite di Antonio Canova e di Giannantonio Selva.

Per le Nozze Persico-Papdopoli. Essay About Stock Asset Returns 2. Venezia: dal premiato stabilimento di G. Antonelli, 1835. Luke, Yvonne. Quatremere de Quincys Role in the raven tone, the Revival of Polychromy in Sculpture . Leeds: Centre for the Study of Sculpture, Henry Moore Institute, 1996. M.B. Beaux-Arts. Salon de 1808. N. Essay About Asset Are Predictable 2. XVIII. The Raven. Sculpture. M. Canova. Journal de lEmpire (4 Janvier 1809): 1-4.

Matthews, Henry. The Diary of an Invalid, Being the france traditional, Journal of a Tour in Pursuit of Health, in Portugal, Italy, Switzerland, and France, in the Years 1817, 1818, and 1819. 5th ed. Tone. Paris: A. and W. Of General Essay. Galignani and co., 1836. Memes, J. S. The Raven. Memoirs of Antonio Canova, with a Critical Analysis of His Works, and an Historical View of how many has eric, Modern Sculpture.

Edinburgh: A. Constable Co., 1825. Memoir of Antonio Canova [with a Portrait]. The New Monthly Magazine and Universal Register 13 (Jan. 1, 1820): 68-71. Missirini, Melchior. Della Vita di Antonio Canova: Libri Quattro . Prato: per i Frat. The Raven Tone. Giachetti, 1824. Moore, Thomas. Memoirs, Journal and Correspondence of Thomas Moore . Edited by John Russell.

London: Longman, Green, Longman and Roberts, 1860. Nocca, Marco. Un Dipinto Inedito di Antonio Canova Ritrovato a Propaganda Fide: lEzzelino da Romano (1793). Bolletino Monumenti, Musei e Gallerie Pontificie 22 (2002): 109-36. Norman, Mark, and Richard Cook. Just a Tiny Bit of Rouge Upon the walters written, Lips and Cheeks: Canova, Colour, and the Classical Ideal. In Canova: Ideal Heads , edited by Katharine Eustace, 47-58. Oxford: Ashmolean Museum, 1997. Outram, Dorinda. The Raven Tone. The Body and the French Revolution: Sex, Class and Political Culture. France Traditional. New Haven: Yale University Press, 1989.

Padiyar, Satish. Chains: David, Canova, and the Fall of the Public Hero in tone, Postrevolutionary France . University Park, PA: Pennsylvania State University Press, 2007. Panzanelli, Roberta. How Many Has Eric. Compelling Presence: Wax Effigies in the raven, Renaissance Florence. In Ephemeral Bodies: Wax Sculpture and how many written the Human Figure , edited by Roberta Panzanelli, 13-39. Los Angeles, CA: Getty Research Institute, 2008. Pinelli, Antonio. La Sfida Rispettosa di Antonio Canova. Genesi e Peripezie del Perseo Trionfante. Ricerche di Storia dellArte 13/14 (1981): 21-40.

Pliny the Elder. Natural History . Translated by H. Rackham (vols. 1-5, 9), W.H.S. The Raven. Jones (vols. Traditional. 6-8) and D.E. Eichholz (vol. The Raven. 10). Edited by H. Rackham, 10 vols. Cambridge, Massachusetts and London: Harvard University Press and William Heinemann, 1949-54. http://www.masseiana.org/pliny.htm#BOOK%20XXXV (accessed June 30, 2015). Potts, Alex. The Sculptural Imagination: Figurative, Modernist, Minimalist.

New Haven, CT: Yale University Press, 2000. Quatremere de Quincy, Antoine-Chrysosthome. A History Anesthesia Essay. Le Jupiter Olympien, ou, lArt de la sculpture antique considere sous un nouveau point de vue . Paris: de Bure Freres Libraires du Roi et de la Bibliotheque du Roi, 1815. . The Raven Tone. Sur M. Canova et les quatre ouvrages quon voit de lui a lexposition publique de 1808: par M. Quatremere de Quinci [ sic ]. Gazette nationale ou le moniteur universel , no. 565 (Dec. 28, 1808): 1428-30. Reynolds, Joshua. Discourses on connecticut Art . Edited by tone, Robert R. Connecticut Compromiser. Wark. New Haven: Published for the Paul Mellon Centre for tone Studies in compromiser, British Art Ltd. by Yale University Press, 1997.

Smith, Marquard. The Erotic Doll: A Modern Fetish . New Haven and London: Yale University Press, 2013. Spinola, Giandomenico. Tone. La Manipolazione dellAntico tra Restauro e Falso: Esempi dai Musei Vaticani. In Roma e lAntico: Realta e Visione nel 700 , edited by Carolina Brook and Valter Curzi, 51-58. Milano: Skira, 2010. Stoichita, Victor Ieronim. The Pygmalion Effect: From Ovid to Hitchcock . The Louise Smith Bross Lectures. Chicago: The University of Chicago Press, 2008. Tadini, Faustino. Le Sculture e le Pitture di Antonio Canova Pubblicate Fino a questAnno 1795. Venezia: Dalla Stamperia Palese, 1796. Thiebault, Paul Charles Francois Adrien Henri Dieudonne.

Memoires du General B on Thiebault, publies sous les auspices de sa fille Claire Thiebault, dapres le manuscrit original, par Fernand Calmettes. 7th ed. 5 vols. Paris: E. How Many Has Eric Written. Plon, Nourrit et C ie , 1893-1895. van Gastel, Joris. Life, But Not as We Know It: Wax Images and the Denial of Death. In Bildakt at the Warburg Institute , edited by Sabine Marienberg and Jurgen Trabant, 231-51. Berlin: Akademie Verlag 2014.

Varese, Ranieri. Un Falso Giorgione e un Vero Canova. In Mosaico: Temi e Metodi dArte e Critica per Gianni Carlo Sciolla , edited by Rosanna Cioffi and Ornella Scognamiglio. Monumenta Documenta, 4; vol. 1, 353-362. The Raven Tone. Naples: Luciano Editore, 2012. Vitruvius. Connecticut. The Architecture of Marcus Vitruvius Pollio in Ten Books. Tone. Translated and on morality edited by tone, Joseph Gwilt, 1826. http://lexundria.com/vitr/7.9/gw (accessed June 30, 2015). Warwick, Genevieve. Essay Stock. Bernini: Art as Theatre . New Haven: Yale University Press, 2012. Wassyng Roworth, Wendy. Pulling Parrhasiuss Curtain: Trickery and Fakery in the raven tone, the Roman Art World. In Regarding Romantic Rome , edited by has eric, Richard Wrigley, 17-37. Bern; New York: P. Lang, 2007.

Winckelmann, Johann Joachim. History of the Art of Antiquity . Translated by Harry Francis Mallgrave. Edited by Alex Potts. Texts Documents. Los Angeles: Getty Research Institute, 2006. 1764. 1 Claire J. Farago, ed.

Leonardo da Vincis Paragone: A Critical Interpretation with a New Edition of the Text in the Codex Urbinas (Leiden and New York: E.J. Brill, 1992), 257. 2 Canovas finishing techniques have received much attention recently. See, for instance, Hugh Honour, Canovas Studio Practice II: 1791-1822, The Burlington Magazine 114, no. The Raven Tone. 829 (April 1972): 218-19; Mark Norman and connecticut compromiser Richard Cook, Just a Tiny Bit of the raven, Rouge upon the Lips and Cheeks: Canova, Colour, and the Classical Ideal, in Canova: Ideal Heads , ed. Katharine Eustace (Oxford: Ashmolean Museum, 1997), 47-58; Alex Potts, The Sculptural Imagination: Figurative, Modernist, Minimalist (New Haven, CT: Yale University Press, 2000), esp. Surface Values, 38-60; Satish Padiyar, Chains: David, Canova, and the Fall of the Public Hero in Postrevolutionary France (University Park, PA: Pennsylvania State University Press, 2007), 11941; and, more recently, David Bindman, Warm Flesh, Cold Marble: Canova, Thorvaldsen and france traditional clothing Their Critics (New Haven: Yale University Press, 2014). 3 After a visit to Canovas studio in 1799, for instance, General Baron Thiebault remarked, Une chose me surprit dans toutes ces statues, cetait la difference de la teinte du marbre qui, dans le meme bloc, distinguait la chair et les vetements.

Je pensai que cette difference provenait de la maniere de piquer le marbre ou de le polir ; mais Canova me dit quil avait decouvert une espece de cire dont il faisait enduire toutes les parties representant les chairs, et que ce procede avait non seulement lavantage de leur donner un veloute nouveau pour le marbre, mais encore de contribuer a preserver ces parties des effets de lair. Paul Charles Francois Adrien Henri Dieudonne Thiebault, Memoires du General B on Thiebault, publies sous les auspices de sa fille Claire Thiebault, dapres le manuscrit original, par Fernand Calmettes , 7th ed., 5 vols. (Paris: E. Plon, Nourrit et C ie , 1893-1895), vol. 2, 549. 4 To use Alex Potts phrase. See Potts, The Sculptural Imagination: Figurative, Modernist, Minimalist , 38-60. 5 See Roland Barthes, The Reality Effect, in The Rustle of Language , trans. Richard Howard (Berkeley: University of California Press), 141-48. 6 For more on Venus and Adonis , see the the raven tone, comments by walters, Augustin Creuze de Lesser in note 54. For the full passage recording Thiebaults reaction to his visit to Canovas studio, see note 3. 7 Joseph Forsyth, Remarks on the raven Antiquities, Arts, and Letters During an compromiser, Excursion in the raven, Italy, in the Years 1802 and 1803 , ed. Keith Crook (1813; London; Newark; Cranbury, NJ: University of Delaware Press; Associated University Presses, 2001), 113.

8 For more on the different versions of Hebe , see Norman and Cook, Just a Tiny Bit of Rouge upon the Lips and Essay Returns Are Predictable Cheeks: Canova, Colour, and tone the Classical Ideal, 51-52. 10 One interesting exception is Canovas statue of Paolina Borghese as Venus Victrix ; recent conservation has shown that Canova did not wax this particular work. See Elisabetta Caracciolo and Elisabetta Zatti, Il Restauro della Sala di Paolina Bonaparte = the Restoration of the Room of Paulina Bonaparte, in Venere Vincitrice : La Sala di Paolina Bonaparte alla Galleria Borghese, ed. On Morality. Claudio Strinati (Roma: Edizioni dellElefante, 1997), 216. 11 According to conservation reports, Apollo and Daphne received a waxy patina in the seventeenth century.

Whether it was applied by Bernini or not is the subject of tone, some debate. See Kristina Herrmann Fiore, Apollo e Dafne del Bernini al Tempo del Cardinale Scipione Borghese, in Apollo e Dafne del Bernini nella Galleria Borghese , ed. Clothing. Kristina Herrmann Fiore and the raven Araldo de Luca (Milano: Silvana Editoriale, 1997), 98. For more on the physical condition of the sculpture and its surface, see the of General Anesthesia, conservation reports in tone, Elisabetta Caracciolo and Elisabetta Zatti, Il Restauro delle Sculture, ibid., esp. 152 and walters written Alfredo Aldrovandi et al., Apollo e Dafne : Indagini Scientifiche per lo Studio delle Superfici, ibid., 161-69. For Pluto and Proserpina, see Genevieve Warwick, Bernini: Art as Theatre (New Haven: Yale University Press, 2012), 109. In his journal entry on August 13, 1665, Paul Freart de Chantelou noted the artists interest in the sculptural surface, particularly the way marble acquired a natural softness with time. See Paul Freart de Chantelou, Journal de voyage du Cavalier Bernin en France , ed.

Milovan Stanic (Paris: Macula-Insulaire, 2001), 116. 12 See Herrmann Fiore, Apollo e Dafne del Bernini al Tempo del Cardinale Scipione Borghese, 98 and Norman and Cook, Just a Tiny Bit of Rouge upon the Lips and Cheeks: Canova, Colour, and the raven tone the Classical Ideal, 50. 13 Two particularly egregious dealers were Thomas Jenkins and Robert Fagan. How Many Books Has Eric Written. See Brinsley Ford, Thomas Jenkins: Banker, Dealer and Unofficial English Agent, Apollo 99, no. 148 (1974): 416-25 and Antonello Cesareo, He Had for tone Years the Guidance of the Taste in Essay Asset Are Predictable Part, Rome: Per un Profilo di Thomas Jenkins, in: Collezionisti, Disegnatori e Teorici dal Barocco al Neoclassico , ed. Elisa Debenedetti, Studi sul Settecento Romano; 25 (Rome: Bonsignori Editori, 2009), 221-250. For more on Fagan, see Ilaria Bignamini, I Marmi Fagan in Vaticano: La Vendita del 1804 e Altre Acquisizioni, Bolletino Monumenti, Musei e Gallerie Pontificie 16 (1996): 331-94. See also the documents in the Archivio di Stato, Roma, Camerale II, Antichita e Belle Arti, Busta 6, fasc.

175 which denounce Fagan for exporting objects from Rome without permission. 14 See Ascanio Condivi, Vita di Michelangolo Buonarroti (1553; Ann Arbor, MI: University Microfilms International, 1976), 9-12. For a fascinating discussion of Michelangelo as a potential forger, see Lynn Catterson, Michelangelos Laocoon ?, Artibus et Historiae 52 (2005): 29-56. 15 As quoted in Honour, Canovas Studio Practice II: 1791-1822, 219. 16 Noted by Thomas Moore in his diary entry of October 29, 1819, upon a visit to tone the Museo Pio-Clementino with the sculptor Sir Francis Legatt Chantrey. Thomas Moore, Memoirs, Journal and Correspondence of traditional clothing, Thomas Moore , ed. John Russell (London: Longman, Green, Longman and Roberts, 1860), 235.

17 Augustus von Kotzebue, Travels through Italy in the Years 1804 and 1805 , 4 vols. (London: Richard Phillips, 1806), vol. 3, 158-59. 18 J. S. Memes, Memoirs of Antonio Canova, with a Critical Analysis of tone, his Works, and Essay about Are Predictable an Historical View of Modern Sculpture (Edinburgh: A. Constable Co., 1825), 295-96. Leopoldo Cicognara likewise recounts this story. The Raven. Leopoldo Cicognara, Biografia di Antonio Canova (Venezia: Editore Giambattista Missiaglia, 1823), 11-12. Antonio dEste tells a slightly different version. On Morality. According to the raven tone his account, a French sculptor named Suasy often critiqued Canovas style. One morning dEste ran into Suasy while he was carrying casts the france traditional, Minotaurs arm and hand and Theseus foot.

After Suasy saw them, not only did he beg to buy them, but he disdainfully suggested that dEste bring them to Canova so that he might study and learn from the antique. DEste gleefully replied that the pieces belonged to an original work by Canova himselfa prank that ended dEstes friendship with Suasy. Antonio dEste, Memorie di Antonio Canova , ed. Paolo Mariuz (1864; Bassano del Grappa: Istituto di ricerca per gli studi su Canova e il neoclassicismo, 1999), 56-57, note 2. 19 That said, throughout his career, Canova often made sculptures that emulated well-known ancient works and exhibited his sculptures in ways that emphasized the comparison with the antique. Tone. See, for instance, Antonio Pinelli, La Sfida Rispettosa di Antonio Canova. Connecticut. Genesi e Peripezie del Perseo Trionfante, Ricerche di Storia dellArte 13/14 (1981): 421-38 and Christina Ferando, Staging Neoclassicism: Antonio Canovas Exhibition Strategies for Triumphant Perseus , in Das Originale der Kopie: Kopien als Produkte und Medien der Transformation von Antike , ed. Tatjana Bartsch, et al., Collaborative Research Centre (Berlin: de Gruyter, 2010), 139-63. 20 Questo quadro resto per piu anni in un angolo dello studio, finche per la patina della polvere e degli anni, prese aspetto di un vecchio quadro. See dEste, Memorie di Antonio Canova , 348. 21 Memes, Memoirs of Antonio Canova, with a Critical Analysis of his Works, and tone an Historical View of Modern Sculpture , 374. Essay Sexuality: Woman. See also dEste, Memorie di Antonio Canova , 70 and Faustino Tadini, Le Sculture e le Pitture di Antonio Canova Pubblicate Fino a questAnno 1795 (Venezia: Dalla Stamperia Palese, 1796), 42.

Wendy Wassyng Roworth also explores the case of Canovas fake Giorgione, including the variations between the biographical accounts. She sets these in the broader context of literary and biographical portrayals of jokes and tricks played by the raven, artists and also stresses the importance that Venetian painting held in Rome at the time. See Wendy Wassyng Roworth, Pulling Parrhasiuss Curtain: Trickery and Fakery in the Roman Art World, in Regarding Romantic Rome , ed. Richard Wrigley (Bern; New York: P. Lang, 2007), 17-37. More recently, Ranieri Varese has made a similar argument that these accounts reiterate the has eric, importance Venetian art had for Canova.

See Ranieri Varese, Un Falso Giorgione e un Vero Canova, in Mosaico: Temi e Metodi dArte e Critica per the raven tone, Gianni Carlo Sciolla , ed. Rosanna Cioffi and Ornella Scognamiglio, Monumenta Documenta; 4 (Naples: Luciano Editore, 2012), vol. 1, 353-362. 22 Gilbert Bagnani compares intentionally forged works with fakes in reversethat of objects or documents which, though undoubtedly not authentic, cannot be considered either as fakes or as forgeries. These works of artcopies, studies, hoaxes, parodies or exerciseswere produced by artists and scholars for about Stock Are Predictable 2 their own amusement or instruction, without the intention to deceive, and became fakes through ignorance and the raven tone the passage of time. Canovas Venus with a Mirror could conceivably fall into this category. Essay Returns Part 2. See Gilbert Bagnani, On Fakes and Forgeries, Phoenix 14.4 (Winter 1960): 29. 23 [. ] lo termina in the raven tone, modo, che sembrava un vecchio dipinto. See dEste, Memorie di Antonio Canova , 78 and on morality Melchior Missirini, Della Vita di Antonio Canova: Libri Quattro (Prato: per i Frat. The Raven. Giachetti, 1824), 123. 24 For more accounts of Canovas fakes, see Missirini, Della Vita di Antonio Canova: Libri Quattro , 123-25 and Memes, Memoirs of Antonio Canova, with a Critical Analysis of his Works, and an Historical View of Modern Sculpture , 373-75.

25 For the reception in Naples of Essay about Woman for Man, Canovas painting in the manner of tone, Giorgione, see the letters from Ranieri Calzabigi to has eric walters Canova, April 18, 1795, and from Nicola Passeri to Canova, April 23, 1795, cited in Paola Fardella, Antonio Canova a Napoli: Tra Collezionismo e Mercato (Napoli: Paparo, 2002), 28, note 33 and 148-49, respectively. For the rediscovery of Canovas painting, see Marco Nocca, Un Dipinto Inedito di Antonio Canova Ritrovato a Propaganda Fide: lEzzelino da Romano (1793), Bolletino Monumenti, Musei e Gallerie Pontificie 22 (2002):109-36. Canova then arranged for the raven this painting to be sent to Venice, where it would be exhibited without revealing that he was the artist, in on morality, order to see how it was received. The Raven Tone. See the letter from Canova to Human Woman for Man Giannantonio Selva, May 14, 1796 and the reply from Giannantonio Selva to Canova, May 21, 1796. The original letter from the raven Canova to Selva is in the Biblioteca Correr (PD 529C), but it has been published (with some modifications) in Lettere Familiari Inedite di Antonio Canova e di Giannantonio Selva. Per le Nozze Persico-Papdopoli (Venezia: dal premiato stabilimento di G. Antonelli, 1835), 14. The letter from Selva to Canova was published in of General Anesthesia Essay, dEste, Memorie di Antonio Canova , 369. 26 Artists are chiefly supported by English travellers, who usually follow Mr.

GRAYs advice, and buy every thing which is to be bought: and among other curiosities, copies for original pictures; and antiques made on purpose for them. Would you buy pictures, beware of the raven, counterfeits, and remember Andrea . A History Anesthesia Essay. Medals will also be brought to tone you in compromiser, quantities, which science requires some caution also. It is the rarity that fixes the value: you would not think, perhaps, that an Otho in copper, is worth more than an the raven tone, Otho in gold. False pearls are made here in the greatest perfection. Of General Anesthesia. If not too large, they may pass at a distance for real ones, and at any rate will answer the purpose full as well. The pearls CLEOPATRA wore were esteemed at one hundred and sixty-one thousand four hundred and tone fifty-eight pounds.How much better might that money have been employed! Peter Beckford, Familiar Letters from Italy, to a Friend in England , 2 vols. (Salisbury: Printed and A History of General Essay sold by J. Tone. Easton, 1805), vol. 2, 317-18.

27 Giandomenico Spinola, La Manipolazione dellAntico tra Restauro e Falso: Esempi dai Musei Vaticani, in has eric walters, Roma e lAntico: Realta e Visione nel 700 , ed. Carolina Brook and Valter Curzi (Milano: Skira, 2010), 52. 28 Emphasis added. He continues, .But many of the names given to the marbles and bronzes in the raven tone, this quarter of the Capitol are more than questionable. Human Sexuality: Woman. The Duillian column is modern, and the raven tone the fragments of books, inscriptions on tone it are copies; the Essay Human God Created for Man, colossal bronze fragments, said to belong to a statue of Commodus, are not certainly his. The Geese called the saviours of the Capitol may be ancient, but they look like ducks. The Boy extracting the thorn is not what it is called, the Shepherd Martius; the bronze Junius Brutus is a baptism; the Caesar is a forgery; so are the Appius Claudius, the Mithridates, the Ariadne, the Sappho, the Virgil, the Cicero, and the Popp?a. No such uncertainty attaches to the raven tone the collection of A History of General Anesthesia Essay, modern worthies on the raven the Promoteca, many of them removed from the how many has eric walters, Pantheon; but most of the recent busts were supplied by the munificence of Canova. John Cam Hobhouse Broughton, Italy; Remarks Made in Several Visits, from the Year 1816 to the raven 1854 , 2 vols. (London: J. Connecticut Compromiser. Murray, 1859), vol. 2, 39.

29 Ces accessoires, ainsi colores, me semblent faire une disparate choquante avec le reste de la statue []. Victorin Fabre, Salon de peinture. Huitieme article. The Raven Tone. Sculptures, Mercure de France, journal historique, politique et litteraire (24 Decembre 1808): 604. For the rest of the citation, see note 39. Fabres reaction was based in part on the polychromy and in part on of General Essay the luxuriousness of the tone, bronze, which was at compromiser, odds with Magdalenes pious renunciation of worldly goods. 30 See Antoine-Chrysosthome Quatremere de Quincy, Le Jupiter Olympien, ou, lart de la sculpture antique considere sous un nouveau point de vue (Paris: de Bure Freres Libraires du Roi et de la Bibliotheque du Roi, 1815). For more on Quatremeres interest in polychromy, see Yvonne Luke, Quatremere de Quincys Role in the Revival of tone, Polychromy in Sculpture (Leeds: Centre for the Study of Sculpture, Henry Moore Institute, 1996). 31 Quelques-uns se sont recries sur lemploi que M. Canova a fait dun peu de dorure dans lenjolivement de la ceinture de son Hebe, et sur lapplication du metal dore a quelques-uns de ses accessoires.

Cette critique ne peut etre faite serieusement que par des personnes peu versees dans la connaissance historique de la sculpture antique, ou qui ne se sont forme lidee de toutes les varietes que par un petit nombre de marbres. Lhabitude dintroduire soit des couleurs, soit des matieres diverses dans les statues, fait une des habitudes favorites de lantiquite. Sil le fallait, on prouverait que loin de ramener lart vers le mauvais gout des tems barbares; cet essai de M. Canova le rapproche au contraire, et de la maniere et des ertemens pratiques par les maitres des plus beaux siecles de la Grece. Sans doutes, et on lavouera sans peine, ce nest pas par-la que le statuaire doit ambitionner le don de plaire. Books Walters Written. Si beaucoup de marbres antiques portent encore des marques dune parure etrangere a leur matiere, si la Venus de Medecis, par exemple, eut les cheveux dores, on nen concluera point quil faille imiter par-la lantique. Mais si ces licenses qui peuvent etre subordonnes au gout, sont autorisees par une multitude dexemples, on en concluera, et que M. Canova a pu se les permettre dans un sujet leger, et que si on len blame, ce ne doit pas etre sur-tout par les motifs quon a allegues. Antoine-Chrysosthome Quatremere de Quincy, Sur M. The Raven. Canova et les quatre ouvrages quon voit de lui a lexposition publique de 1808: par M. Quatremere de Quinci [ sic ], Gazette nationale ou le moniteur universel , no. 565 (Dec. 28, 1808): 1429. 32 In Plinys Natural History , for instance, he cites Praxiteles admiration for the painter Nicias, who also painted Praxiteles own sculptures. A History Anesthesia Essay. Vitruvius, on the raven the other hand, suggests wax was used to tint marble sculptures. See Pliny the how many has eric written, Elder, Natural History , ed.

H. Rackham, trans. H. Rackham (vols. 1-5, 9), W.H.S. Jones (vols. 6-8), and D.E. Eichholz (vol. 10), 10 vols. Tone. (Cambridge, Massachusetts and has eric walters London: Harvard University Press and William Heinemann, 1949-54), XXXV, lx, http://www.masseiana.org/pliny.htm#BOOK%20XXXV (accessed June 30, 2015) and Vitruvius, The Architecture of Marcus Vitruvius Pollio in Ten Books , ed. and trans. Tone. Joseph Gwilt, 1826, VII, 9, 3, http://lexundria.com/vitr/7.9/gw (accessed June 30, 2015).

33 Elle tient a la main une coupe doree, idee que je napprouve rien, quoique les anciens laient eue souvent. Du moment quon admet deux couleurs dans la sculpture, il faut les admettre toutes. Des que vois me montrez une coupe dor, je trouve difforme et avec raison une bouche toute blanche, des yeux tout blancs: en un mot une seule couleur, ou toutes les couleurs. Augustin Creuze de Lesser, Voyage en Italie et en Sicile, fait en MDCCCI et MDCCCII (Paris: de lImprimerie de P. About Human Sexuality: Woman For Man. Didot lAine, 1806), 313. 34 Le bandeau des cheveux de la Deesse [ Hebe ], laiguiere et la coupe quelle teint dans ses mains, sont de couleur dor; les parties nues de la statue sont impregnees dune preparation de soufre et de cire, qui leur donne une teinte jaunatre et un reflet assez semblable a celui des corps demi-diaphanes, comme certaines partes de lalbatre: cet encaustique a meme sur quelques parties du visage une couleur legerement rosee; et cependant les draperies conservent la blancheur naturelle du marbre. Ce sont ces petits artifices que nous eussions pu remarquer plus tot, en parlant de la Madeleine et du groupe de Psyche, que lon reproche au chevalier Canova, comme peu dignes de la gravite de la statuaire. En admirant ladresse et la discretion avec laquelle il les emploie, on craint que labus nen devienne un jour funeste. On invite les sculpteurs a repousser une pretendue innovation, qui nest en effet que le raffinement du procede ordinaire aux artistes des siecles de barbarie: toutes ces observations me semblent forte justes.

Les anciens ont employe lor, largent, les pierreries, la marqueterie dans quelques-unes de leurs statues de marbre. Les anciens nont-ils pas eu aussi leurs ages dignorance et leurs siecles dun luxe barbare? Nous ne voyons pas cette bigarrure dans ceux de leurs plus beaux ouvrages que le temps a respectes; et quel elle sy trouveroit, cette autorite ne sauroit prevaloir contre le bon sens et la raison. A la vu dun ouvrage de sculpture, nous nous figurons le sujet represente sons un seul de ses rapports, celui de la solidite. Tone. Cette seule propriete, imitee plus ou moins parfaitement, suffit pour nous donner une idee distincte du sujet entier; et elle satisfait si bien notre esprit, qua peine nous nous apercevons de labsence de toutes les autres. Cependant, que par un soin imprudent lartiste accorde a quelque partie de sa statue une de ces autres proprietes qui manquent a tout le reste, nous sommes frappes de la difference; et notre pensee, dabord tout occupee dun seul objet, prend un autre tour. La blancheur du lin, si facilement imitee par la blancheur du marbre, nous fera songer a linimitable couleur de la chair. Books Has Eric Walters Written. Le diademe, brillant dor veritable, accusera la feinte impuissante de lart a legard des cheveux.

Et que le sculpteur egare dans cette fausse voie nespere pas sen tirer en poursuivant: au bout est le terme fatal de lart. M.B., Beaux-Arts. Salon de 1808. N. XVIII. Sculpture. M. The Raven Tone. Canova, 3-4. 35 Againthere is a trickery and quackery in the finishing of Canovas statues, which is below the dignity of a sculptor.

The marble is not left in its natural statebut it must be stained and polished to aid the effect. The other sculptors laugh at this, and well they may;for these adventitious graces soon fade away, and about Asset Part are beside the purpose of sculpture, whose end was, and is, to represent form alone. Henry Matthews, The Diary of an Invalid, Being the Journal of a Tour in Pursuit of Health, in Portugal, Italy, Switzerland, and France, in the Years 1817, 1818, and 1819 , 5th ed. (Paris: A. and W. Galignani and co., 1836), 89. 36 See note 37 for the full text. M.B., Beaux-Arts. The Raven. Salon de 1808.

N. XVIII. Sculpture. M. Canova, 3-4. 37 The anonymous writer of The New Monthly Magazine cited these criticisms, but ultimately defended Canovas work. Canova has been blamed by some critics for endeavouring to impart to his statues an air of reality, and of heightening their resemblance to nature by artificial means unconnected with the province of sculpture: namely by colouring the france traditional, eyes, lips c., a practice quite unusual among modern sculptors. This, however, he manages with so much delicacy, that it is scarcely perceptible, and if it do not, as many maintain, impart an additional charm to the raven tone the statue, it is at least certain that Canova never suffers the colouring to obtrude so as to become offensive to A History of General Anesthesia Essay the eye. Memoir of Antonio Canova [with a Portrait], The New Monthly Magazine and Universal Register 13 (Jan. Tone. 1, 1820): 71. 38 Canova strives, by the kind of polish which he gives to his works, to Essay about Are Predictable 2 produce in the spectator an impression corresponding with that which the subject of tone, his compositions ought to inspire.

He gives to Essay the marble the appearance of tone, a soft and delicate substance, and when it has received the last polish, by means of the pumice-stone, he makes use of Essay God Created for Man, a mordant, to tone diminish its whiteness, and to give it somewhat of a yellowish tint. Connecticut Compromiser. The connoisseurs who love to find in tone, a statue the beauty of the form designed with the utmost possible purity, do not approve of this process, by which it would seem to A History of General Anesthesia Essay be impaired; but it is expressly calculated to heighten the pleasure of the amateur, who is the raven tone, more susceptible of enthusiasm, and frequently measures the perfection of a work by the degree of satisfaction which it affords him. English translation from Carl Ludwig Fernow, Account of the Life and Works of M. Canova, the Celebrated Italian Sculptor, The Monthly Magazine, or, British Register XXIV, no. 160 (August 1, 1807): 47. 39 Cet habile statuaire [Canova] se sert, avec beaucoup dadresse, dun moyen peu usite, pour donner plus de douceur a ses chairs et les mieux distinguer des draperies. Il jaunit le marbre dans le nu, et lui laisse sa couleur naturelle dans les etoffes. Connecticut Compromiser. Les avis peuvent etre partages sur cette espece dinnovation, mais M. Canova est alle plus loin encore : on trouve dans ses statues dautres accessoires representes en couleur; telles sont la coupe dor de son Hebe , la croix de roseau de sa Madelaine . Ces accessoires ainsi colores, me semblent faire une disparate choquante avec le reste de la statue, oter a la vraisemblance et a lillusion de lensemble plus peut-etre quils najoutent a la verites des details; et je crois quun tel usage, dont il serait si facile a des imitateurs maladroits dabuser, pourrait, sil venait un jour a setablir, alterer enfin la noble simplicite, la franchise de composition, et meme de style qui doivent former toujours le principal caractere des grands ouvrages de sculpture. Fabre, Salon de peinture.

Huitieme article. Sculptures, 604. 40 If the business of Sculpture were to the raven administer pleasure to ignorance, or a mere entertainment to the senses, the Venus of Medicis might certainly receive much improvement by colour; but the character of Sculpture makes it her duty to Essay afford delight of a different, and, perhaps, of a higher kind; the delight resulting from the contemplation of perfect beauty: and the raven this, which is in truth an intellectual pleasure, is in many respects incompatible with what is merely addressed to the senses. Joshua Reynolds, Discourses on of General Anesthesia Essay Art , ed. Robert R. Wark (New Haven: Published for the Paul Mellon Centre for Studies in British Art Ltd. by Yale University Press, 1997), 176-77. 41 Johann Gottfried Herder, Sculpture: Some Observations on Shape and Form from Pygmalions Creative Dream , ed. and trans. Jason Gaiger (1778; Chicago: University of Chicago Press, 2002), 54. 42 Johann Joachim Winckelmann, History of the tone, Art of Essay Woman, Antiquity , ed.

Alex Potts, trans. Harry Francis Mallgrave, Texts Documents (1764; Los Angeles: Getty Research Institute, 2006), 195. 43 Charlotte A. Eaton, Rome, in the raven tone, the Nineteenth Century; Containing a Complete Account of the Essay about for Man, Ruins of the Ancient City, the Remains of the the raven tone, Middle Ages, and the Monuments of Modern Times , 5th ed., 2 vols. (1820; London: H. How Many Books Has Eric Walters Written. G. Tone. Bohn, 1852), vol. 2, 301. 44 This interest in animation remained powerful well into the nineteenth century. France Clothing. Recent scholarship which has explored the issue includes J. The Raven Tone. L. Written. Carr, Pygmalion and the raven the Philosophes : the Animated Statue in A History of General Anesthesia Essay, Eighteenth-Century France, Journal of the the raven, Warburg and Courtauld Institutes 23, no. Books Walters. 3/4 (Jul-Dec. 1960): 239-55; Victor Ieronim Stoichita, The Pygmalion Effect: From Ovid to Hitchcock , The Louise Smith Bross Lectures (Chicago: The University of Chicago Press, 2008); Kelly Dennis, Art/Porn: A History of Seeing and Touching (Oxford and New York: Berg, 2009), esp. 37-53; George L. Hersey, Falling in Love with Statues: Artificial Humans from tone Pygmalion to the Present (Chicago: University of on morality, Chicago Press, 2009); and Marquard Smith, The Erotic Doll: A Modern Fetish (New Haven and the raven tone London: Yale University Press, 2013). 45 See Hersey, Falling in Love with Statues: Artificial Humans from on morality Pygmalion to the Present , 99-102 and Smith, The Erotic Doll: A Modern Fetish , 39. 46 For this purpose, we imagined a statue constructed internally like ourselves, and animated by a mind which as yet had no ideas of any kind.

We supposed the tone, marble exterior of the statue to prevent the use of Returns Are Predictable 2, its senses, and the raven we reserved to ourselves the right to open them at will to Essay about Asset Returns 2 the different impressions of which they are susceptible. Etienne Bonnot de Condillac, Condillacs Treatise on the Sensations , ed. and the raven trans. Connecticut. Margaret Geraldine Spooner Carr (1754; London: The Favil Press, 1930), xxx-xxxi. 47 As cited in Hersey, Falling in the raven tone, Love with Statues: Artificial Humans from Pygmalion to the Present , 102. 48 O vid, Metamorphoses, trans. Anthony S. Kline, Book X, 243-297, Orpheus Sings: Pygmalion and the Statue, http://ovid.lib.virginia.edu/trans/Metamorph10.htm (accessed June 30, 2015). 50 Some contemporary reports suggest that Corday was not, in A History, fact, slapped. Regardless of the historical accuracy of the account, the image entered the entered public imagination and was still actively discussed for several years after her execution. For more details, see Dorinda Outram, The Body and the raven the French Revolution: Sex, Class and Political Culture (New Haven: Yale University Press, 1989), 118-20. 52 Daniel Arasse, The Guillotine and france traditional clothing the Terror , trans. Christopher Miller (London: Allen Lane, The Penguin Press, 1989), esp.

37-42. 53 Letter from Lucchesi Palli to Canova, n.d. The Raven Tone. [1795]. Il marmo e trattato con tale industria, che la superficie sembra positivamente lepiderma del corpo umano e si sarebbe tentati pungerla con una spilla per vedere se ne uscisse il sangue. Cited in Fardella, Antonio Canova a Napoli: Tra Collezionismo e Mercato , 145. 54 Jai vu a Naples un autre essai de ce systeme de Canova, et beaucoup moins heureux encore a mon avis ; cest dans un grouppe de Venus et Adonis. Venus est nue ; mais quand jentrai dans la piece ou est ce grouppe, je fus desagreablement frappe dune large bande, blanc de neige, qui entouroit la ceinture de cette deesse. Je crus que cetoit une linge dont une pudeur assez ridicule lavoit couverte, et je priai quon lotat ; mais en mapprochant je vis que Canova avoit profite, pour masquer un peu sa Venus, dune variete de teinte qui existoit dans la blancheur du marbre. Je me demandai ce que ce linge avoit la a faire aupres dAdonis ; de plus un linge blanc me montra tout de suite une Venus toute grise. Au reste ce qui auroit du me detromper tout de suite, cest que ce linge est pose tellement qua moins de supposer quil tient par des epingles a la personne meme de Venus, il est impossible quil tienne; mais aussi Venus est dans une disposition si tendre quon peut supposer que dans ce moment la le voile alloit achever de tomber. Creuze de Lesser, Voyage en Italie et en Sicile, fait en MDCCCI et MDCCCII , 313-14. 55 Quand M. Canova lui-meme emprunterait la palette du Titien, pour ajouter dans toutes les parties de ses figures la couleur a la forme, limitation parfaite de ses deux proprietes ne serviroit qua faire sentir plus vivement labsence dune troisieme. Ces simulacres dhommes, auxquels il ne manqueroit plus rien que la vie, seroient par cela seul un objet horrible. Sans doute M. On Morality. Canova est loin, bien loin de cet exces de barbarie ; cependant je ne crois pas que la teinte, assez forte, de carmin quil a donne a linterieur de la bouche de son Hebe, soit aux yeux de personne dun effet agreable; et lanalogie est assez grande entre ce procede et celui que nous venons de supposer, pour justifier les reproches ou du moins les craints des amis des arts. M.B., Beaux-Arts.

Salon de 1808. N. XVIII. Sculpture. The Raven. M. Canova, 4. 56 See, for instance, Roberta Panzanelli, Compelling Presence: Wax Effigies in on morality, Renaissance Florence, in tone, Ephemeral Bodies: Wax Sculpture and the Human Figure , ed. Roberta Panzanelli (Los Angeles, CA: Getty Research Institute, 2008), 13-39 and Joris van Gastel, Life, But Not as We Know It: Wax Images and the Denial of Death, in Bildakt at the Warburg Institute , ed. Sabine Marienberg and Jurgen Trabant (Berlin: Akademie Verlag, 2014), 231-51. 57 Uta Kornmeier, Almost Alive: The Spectacle of Verisimilitude in Madame Tussauds Waxworks, in Ephemeral Bodies: Wax Sculpture and the Human Figure , ed. Roberta Panzanelli (Los Angeles, CA: Getty Research Institute, 2008), 67-81. 58 Joan B. Landes, Wax Fibers, Wax Bodies, and Moving Figures: Artifice and Nature in Eighteenth-Century Anatomy, ibid., 41-65.

59 Charles Baudelaire, The Salon of 1846, Art in Paris, 1845-1862: Salons and Other Exhibitions , ed. Jonathan Mayne, 2nd ed., Landmarks in Art History (1846; Oxford Oxfordshire: Phaidon, 1981) 111. Christina Ferando , The Deceptive Surface: Perception and Sculptures Skin , Images Re-vues [En ligne], 13 | 2016, mis en ligne le 15 janvier 2017, consulte le 05 octobre 2017. URL : http://imagesrevues.revues.org/3931. Christina Ferando is the Dean of clothing, Jonathan Edwards College at Yale University. A specialist in eighteenth- and nineteenth-century art, she has held teaching positions at the raven, Williams College and Columbia University, where she received her Ph.D. Her research has been funded by grants and Stock Asset Are Predictable Part 2 fellowships from institutions such as The Metropolitan Museum of Art, Harvard University, the Center for Advanced Study in the Visual Arts, and the American Academy in Rome, among others.

She has published extensively on the artist Antonio Canova in edited volumes and journals including Word Image , The Burlington Magazine , and The Journal of Art Historiography . She is currently completing a book-length manuscript on the sculptor, tentatively titled Canova in tone, Conversation: Sculpture, Dialogue and Display in the Early Nineteenth Century. Chargement des illustrations. Supports Hors-serie 5 | 2016. Apres le tournant iconique 12 | 2014. Arts de l'oubli 11 | 2013.

Des categories a l'?uvre Hors-serie 4 | 2013. Survivance d'Aby Warburg 10 | 2012. Inactualite de l'ornement Hors-serie 3 | 2012. Iter et locus. Lieu rituel et agencement du decor sculpte dans les eglises romanes d'Auvergne 9 | 2011. Parente en images 8 | 2011. Figurer les invisibles Hors-serie 2 | 2010. L'histoire de l'art depuis Walter Benjamin 7 | 2009.

Paysages sonores 6 | 2009. Devenir-animal 5 | 2008. L'image-evenement Hors-serie 1 | 2008. Traditions et temporalites des images 4 | 2007. Objets mis en signe 3 | 2006. Hommage a Daniel Arasse 2 | 2006. L'image abimee 1 | 2005. ISSN electronique 1778-3801.

Informations Titre : Images re-vues Histoire, anthropologie et theorie de l'art En bref : Revue consacree a l'histoire, l'anthropologie, la theorie des arts et des images.

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