After models by Antonio Canova (1757-1822) Italian, Rome, mid-19th century

one inscribed: PII.VII; with associated painted wood bases

Sotheby's Monaco 21 February 1988, lots 625-626

Overall the figures exhibit surface dirt, pitting, pointing marks scratched on and in pencil as well as restorations, cracks and losses. The bases of both figures sit on wood plates. Creugas has restorations to the curls on the proper right side of the head and around the pin on top of his head. Further areas of restorations are to the proper left shoulder, both elbows, both thighs (which are coming undone), both knees and both ankles. The branches of the tree and its trunk have restorations. The base has repairs throughout. The stem of Creugas' cache sexe is lost. Damoxenos was restored at both wrists, the proper left shoulder, both thighs, shins, and ankles. Both bridges of the tree exhibit repairs, as does the base.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Antonio Canova was deemed by his contemporaries as 'the supreme minister of beauty', and indeed his sculpture defined neoclassicism.  He conceived his Pugilists as a three-dimensional treatise of his aesthetic ideal.  The pair of wrestlers, caught mid- match, demonstrate anatomical mastery, dilution of character and narrative tension without compromising refinement of line or purity of form. The present casts record the triumphs of an artist who commanded an epoch.

Canova conceived his Pugilists around 1794 first in the form of drawings (Venice, Museo Correr).  By 1796 he had completed life-size modelli of both Creugas and Damoxenos and commenced on the marbles a year later.  The Creugas was complete by 1801 and when Pope Pius VII viewed the sculpture, he acquired it for the Vatican to replace the ancient Pugilist, which had been removed to France by Napoleon's forces. Instantly the fighter was transformed from an artistic to a political statement. Pius VII also commissioned Canova to finish the marble Damoxenos, which completes the pair.  They are both still housed in the Vatican's colection

The story of the Pugilists comes from the the writings of the Greek traveller Pausanias (8, 40: 3-4).   Creugas and Damoxenos were equally matched against each other in a boxing match at Nemea, with no declared winner.  The judges determined that each contender would be allowed one final blow.  Creugas of Durazzo struck Damoxenos of Syracuse on the head, and recoiled his left fistover his body.  Damoxenos, viewing the area of his opponent's weakness, struck Creugas on the side and tore out his intestines. Damoxenos, however, was disqualified for killing his opponent and Creugas posthumously declared the winner.

Canova believed that by studying his Pugilists, aspiring artists would come to understand his manner and artistic ideals.  He had plaster casts made by his formatore, Vincenzo Malpieri, for the academies of art with which he was associated (Venice, Carrara, Vienna, Milan, Paris, London, Berlin and Florence).

RELATED LITERATURE
Paolo Mariuz, ed., Leopoldo Cicognara ad Antonio Canova: Lettere inedite della Fondazione Canova di Possagno. Bertoncello Artigrafiche. 2000; Canova, exh. cat. Correr Museum, Venice, 1992, no. 130, 131, pp. 274-281