Idealization of ideal: neoclassic sculpture

Now we must leave the realism for a consideration that very scant is said. the idealization of ideal; apparently it is a contradiction, because the ideal is the translation of a idea, in this context alone formal, therefore it we can’t represented something that is ideal in its nature; but if we think about the Neoclassic sculpture we can find that the ideal can be improve, alone in formal translation, and overcoming the original idealism, because the formal definition is perfect and smoothed, because these sculpture are more near to ideal than original, a confront is sufficient, the Doryphores(Fig.1),datable between the 2th and the 1th century before Christ, is perfect to its body and definition of every particular, certainly, but the Thorvaldsen(1770-1844), for his Jason with golden fleece(Fig.2), is more cured and more beauty. Although this paragon and word in art history is an oath, because the art is a production of man in his contest, in his moment, in his social environment, hence we must tie it to framework, otherwise nothing is possible understand; whereby the Neoclassicism has idealized the ideal, because although the Jason of Thorvaldsen is directly retook from the Doryphores, because the posture is similar, the left arm raised that is directly suggested from Neapolitan sculpture, to a confront is evident that the Thorvaldsen is formally better, certain, because the technique of sculpture was improved and the material is worked through others techniques, but it is a confirm of my think; because the framework is indispensable, to understand, but the idealization of ideal is possible to Thorvaldsen and Canova(1757-1822) because the technique was very improved, but it has aided the neoclassic sculptors to smooth the superficies, for this is sufficient see the sculptures, for example the Hercules and Lyca of Canova(Fig.3), for the body of Hercules Canova has took directly from Hercules in Naples(Fig.4), it is very interesting because although the dynamic of this sculpture is very sharp, the sculptor has smoothed the superficies because the final result is important and the form is all, because to neoclassic sculpture is fundamental the form, that is important, certainly, but the neoclassicism cures alone it, for example the Paolina Borghese(Fig.5), sister of Napoleon, and portrayed in sculpture from Canova, formally is perfect and certainly Canova has improved the form of body, although the Canova’s sculpture is very similar to other portraits(Fig.6) of Paolina, but the face of model is changed(Figs.7-8), evidently or Paolina or Canova has chosen delete that real physiognomy, and the realism all; because the Neoclassicism is so, absence absolutely of real connotes; it is necessary to idealization, that must overcome the model and the ideal to idealize the ideal. The last note for reprove this concept, the Perseus(Fig.9) of Canova is a specular representation of Apollos in Vatican(Fig.10), but Canova has cured better the formal definition, thereupon the ideal is overcame.

Alessandro Lusana

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