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Hebe by Antonio Canova

Hebe is the subject of a series of sculptures by Antonio Canova created between 1796 and 1817, along with an original plaster model. The first version, commissioned by Count Giuseppe Giacomo Vivante Albrizzi, was completed in 1799 and is now in Berlin’s Alte Nationalgalerie. A second version, made for Joséphine de Beauharnais, was shown at the Paris Salon in 1808 and is now in the Hermitage Museum in Saint Petersburg. Two later versions were created in 1814 and 1817; the former is in Chatsworth in the United Kingdom, and the latter is in the civic art gallery at the San Domenico Museums in Forlì. The plaster model is in Milan’s Gallery of Modern Art.

Hebe, a white marble statue of a female figure holding a golden ewer and goblet
Hebe by Antonio Canova, shown as a graceful marble figure holding a ewer and goblet.
June 2016 © · Public domain
Classical statue of Hebe holding a jug and cup between two fluted columns.
The Hebe statue stands on a pedestal between two fluted columns.
2006 © · Public domain
Hebe by Antonio Canova, a headless female statue with one arm raised and draped lower body in a museum display case.
Antonio Canova’s Hebe shown in a museum display case, with the headless statue lit by warm light.
November 2011 © · CC BY-SA 3.0
Hebe, a neoclassical female figure in flowing drapery, holding a cup and a pitcher.
Hebe shown as a graceful neoclassical figure with a cup and pitcher.
© Rijksmuseum · CC0
Neoclassical print of Hebe showing a female figure holding a pitcher overhead and a cup in the other hand.
Hebe, shown in a neoclassical print as a standing figure with a pitcher and cup.
© Rijksmuseum · CC0

Identification

TitleHebe
Title in FrenchHébé
TypeSeries of sculptures
SubjectHebe, the Greek goddess, daughter of Zeus and Hera, servant and cupbearer of the gods of Olympus
Alternative titleEbe

Historical context

Date range1796 to 1817
Artistic styleNeoclassicism

Creator

ArtistAntonio Canova
Signed byCanova
Number of versionsFour autograph versions, plus the original plaster model

Discovery and provenance

Second version later transferEntered the imperial Russian collections in 1815
Plaster model donorCanova gave the original plaster model to his pupil Pompeo Marchesi
Fourth version intended purposeIntended to make her residence in Forlì more sumptuous
Fourth version commissionCommissioned by Countess Veronica Zauli Naldi Guarini
Third version patronLord Cawdor
First version completion1796
Second version exhibitionExhibited at the Paris Salon in 1808
Second version commissionMade at the request of Joséphine de Beauharnais, first wife of Napoleon
First version later saleSold in 1830 by Vivante Albrizzi to King Frederick William III of Prussia
First version dispatchSent to Venice shortly before the end of 1799
First version commissionCommissioned in 1796 by Count Giuseppe Giacomo Vivante Albrizzi

Physical characteristics

HairElaborate hair gathered with a diadem and stirred by a breath of wind
Attributes heldAn amphora raised high and a cup in her left hand
DepictionShown walking with a light, almost dancer-like step, in a reverent, silent attitude
Lower bodyDraped in a thin tunic with dense, complex folds
Upper bodyBare-breasted
Pose/supportSuspended on a cloud in the first two versions; in the last two versions she leans against a tree trunk instead

Materials

Primary materialMarble, with bronze details
Bronze detailsAmphora, cup, and hair ribbon
Original model materialPlaster
Plaster model locationGalleria d'arte moderna, Milan

Location and ownership

Fourth version current locationCivic art gallery in the Museo di San Domenico, Forlì, Romagna
Third version current locationChatsworth House, Derbyshire, England
Second version current locationState Hermitage Museum, Saint Petersburg
First version current locationAlte Nationalgalerie, Berlin

Appearance

Composition sourceAdapted from several Hellenistic statues
Version differencesThe versions differ only in small details, especially the switch from cloud to tree trunk support in the later versions

History and restoration

Criticized featuresThe bronze accessories, the pink patina used to suggest a realistic complexion, the cloud motif, and the lack of expression in Hebe's face were criticized
Critical receptionThe first two versions drew harsh criticism
Admiring receptionIppolito Pindemonte praised the work and dedicated verses to it
Interpretive noteCanova's use of bronze accessories was later considered correct

Significance

Commemorative coinSaint-Marin struck a 2-euro commemorative coin showing the statue to mark the 200th anniversary of Canova's death