The fourth and final volume of the photographic and editorial project Canova. Four Tempos, dedicated to the plaster casts by Antonio Canova at the Gypsotheca in Possagno (Italy), continues the investigation into the imperfect form: works that, with their small nails that allowed plaster to be reproduced in marble, are an expression of genius in his making.Luigi Spina approaches the works in a completely new way, from mythological subjects to the faces of the commissioners, from Daedalus and Icarus, a masterpiece of youth, to Adonis crowned by Venus, unfinished and never translated into marble. From the eternal comparison between the sculpture of Hector in a dynamic pose and Ajax about to draw his sword. The sensuality of Venus while revealing herself as she emerges from her bath.Finally, the volume takes a look at the commissioners: the sculpture of the little prince Heryk Lubominski dressed as Cupid with bow and quiver and the sculpture of Princess Leopoldina Esterhàzy Liechtenstein. In the sculptor’s mind dominates the classical model, a symbol of harmony and perfection.

The fourth and final volume of the photographic and editorial project Canova. Four Tempos, dedicated to the plaster casts by Antonio Canova at the Gypsotheca in Possagno (Italy), continues the investigation into the imperfect form: works that, with their small nails that allowed plaster to be reproduced in marble, are an expression of genius in his making.Luigi Spina approaches the works in a completely new way, from mythological subjects to the faces of the commissioners, from Daedalus and Icarus, a masterpiece of youth, to Adonis crowned by Venus, unfinished and never translated into marble. From the eternal comparison between the sculpture of Hector in a dynamic pose and Ajax about to draw his sword. The sensuality of Venus while revealing herself as she emerges from her bath.Finally, the volume takes a look at the commissioners: the sculpture of the little prince Heryk Lubominski dressed as Cupid with bow and quiver and the sculpture of Princess Leopoldina Esterhàzy Liechtenstein. In the sculptor’s mind dominates the classical model, a symbol of harmony and perfection.