NEW YORK, NY.- This kaleidoscopic study of Antonio Canova (1757-1822), one of the most celebrated sculptors of the Neoclassical era, reconsiders his life, work and artistic legacy in the wake of the two-hundredth anniversary of his death. Pestilli here examines how critics such as Carl Ludwig Fernow and Quatremère de Quincy critically shaped both Canova’s work and its reception and delves into the striking similarities between Canova and his renowned predecessor, Gian Lorenzo Bernini. The narrative breathes new life into the sculptor’s art by placing it within the rich cultural context in which he and his contemporaries worked.

Drawing from a wealth of sources—including hundreds of letters and original drawings—Pestilli examines a range of previously unexplored themes that will enhance the understanding of specialists and art enthusiasts alike. This study highlights Canova as a sculptor whose work will continue to resonate for years to come. is the former Director of Trinity College, Rome, where he currently teaches seminars on Michelangelo and Bernini. He is the author of Bernini and His World: Sculpture and Sculptors in Early Modern Rome (Lund Humphries, 2022), Picturing the Lame in Italian Art from Antiquity to the Modern Era (Ashgate/Routledge, 2017) and Paolo de Matteis: Neapolitan Painting and Cultural History in Baroque Europe (Ashgate 2013).

'In this compelling study, Livio Pestilli situates Canova’s work in the context of artistic production and the political sphere of the early nineteenth century by weaving together contemporary criticism, unpublished or little-known primary sources, and comparisons between Canova and his great predecessors in sculpture. Pestilli’s thought-provoking comparison between Canova and Bernini challenges the traditional binary between “Neoclassicism” and “Baroque” by showcasing the sculptors’ common practices. His illuminating and clear descriptions of sculptural technique, particularly in the chapter on cantilevering, highlights the virtuosity of Canova’s work in language that is accessible and compelling to both experts and a general audience. The book is an important contribution to the study of European sculpture – eminently readable and instructive.' ~ Christina Ferando, Dean of Jonathan Edwards College and Lecturer of History of Art, Jonathan Edwards College, Yale University