Chiara Savettieri, "Il avait retrouvé le secret de Pygmalion" : Girodet, Canova and the illusion of life ; This paper intends to highlight the relationship between the French painter Anne-Louis Girodet-Trioson and the Italian sculptor Antonio Canova. The works by Girodet in which one can distinguish connections with the sculptor are the Endymion and Pygmalion and Galatea. In the former, one can observe various similarities with the aesthetics of Canova : these are particularly recognizable in the staging of the light in order to reproduce the smooth texture of flesh and in a conception of beauty particular to Winckelmann, which, by its "indeterminate" nature, appears androgynous and ephebic. Following the wishes of its patron, that is to say Sommariva, the Pygmalion was to constitute a tribute to Canova who was able to breathe life and the illusion of movement to his marble statues. In this painting, it is possible to distinguish precisely both the similarity but also the contrast with the sculptor. On the one hand, Girodet, like Canova, believes that art is composed of a significant intellectual element, which bathes the works in a cool sheen, far removed from the fervent spontaneity of Canova's marble statues. However, if one looks closer, it appears that this intellectualism stems from a deep mise en abyme of the values on which the neoclassical aesthetics was based : a crisis that appears extremely clearly in the numerous texts written by the painter throughout his life.
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