Colour and Curation: Recasting Canova at Crawford Gallery
We celebrate the unique colour displays of Cork's Crawford Gallery...
By
Aoife Allen
February 8, 2024
The Crawford Gallery, located in the heart of Cork City, offers a unique experience to its visitors, boasting an impressive collection of casts of some of the most iconic and recognisable sculptures in the world. Recasting Canova, curated by Dr Michael Waldron - the ongoing exhibition in which the casts are displayed - celebrates the bicentenary of the Canova cast collection constructed under the supervision of sculptor Antonio Canova in the early 19th century.
But first, to share a bit of history: Commissioned by Pope Pius VII as a gift for the Prince Regent - and later King - George IV, in thanks for deposing Napoleon at the Battle of Waterloo in 1815, the Canova casts appear as a gesture of goodwill and friendship - yet there is more to this seemingly generous offer than meets the eye. In 1797, the Treaty of Tolentino was signed between the Papal States and France, allowing works of art to be confiscated from the Papal States by France; specifically the Apollo Belvedere and Laocoön and His Sons. Despite significant opposition to the motion, the sculptures were taken, and Pope Pius VII was detained by the French from 1809-1814.
After the fall of Napoleon, the pope was released and Canova was tasked with negotiating the return of the artworks to Rome, which were later successfully and safely returned to Italy. At this time, Pope Pius VII set Canova the grander task of overseeing the casting of 200 works of art, intended as a gift to the British. High-quality plaster reproductions were incredibly popular during
this period, meaning that the casts would make a fine gift for the future king and, when the casts arrived in London, they were briefly celebrated in the Custom House. After being temporarily relocated to the gardens of Carlton House, the London living quarters of the Prince Regent, they were then offered to the Royal Academy, who were forced to turn them down due to lack of space. Word reached William Hare - Viscount to Ennismore and Listowel, and more importantly president of the Cork Society for Promoting the Fine Arts - that the casts were up for offer. Hare requested that the cast collection be bestowed upon the city of Cork, an important maritime town of the empire, and the Prince Regent agreed. According to the Belfast Newsletter, this was to “enable the rising artists of the sister kingdom to establish an adequate school of study.” The casts arrived in Ireland in November of 1818, prompting the formation of the Cork School of Art and its ‘saloon of sculpture’; now known as CIT Crawford College of Art & Design and Crawford Art Gallery.
Recasting Canova opened in 2018 into a visually dynamic and dramatic curatorial landscape. A problem often encountered by curators of classical sculpture, is how to allow the works of art to stand out against the often white and sanitary environment of an art gallery. In order to combat this issue, the curators at the Crawford made the decision that would totally define the exhibition. With the opening of Recasting Canova, the previously beige walls of the gallery were painted a bright, bold shade of blue, allowing the pieces to not only stand out against the contrasting colour but come alive in the space. The use of blue allows the space to turn from two dimensional, to three-dimensional, giving the casts an almost startling sense of depth. This blue - in fact, almost turquoise - is illuminating, stretching the room open instead of compressing it. The curators were aware of the power that such a strong colour could have on the room framing the casts rather than dominating or overshadowing them. The positive effect is achieved by painting the lower half of the room in energetic blue and leaving the top half of the room a bright, minimalist white. This attentive organization of colour brings the room to a perfect harmony; the casts remain the focal point, standing out against their background, and allowed to thrive in their space. The majority of the casts are placed quite high on plinths, bringing their centre points closer to eye level, with the plinths themselves painted a muted grey to compliment the blue and white, but essentially blend into the background.
The colour story that went along with Recasting Canova was deemed so successful that it has become the defining motif of the exhibition. The trademark blue is visible on all of the advertisements, marketing material, gallery brochures and more; blue now defines the visual language of the casts, as does minimalist design. The Crawford space in which the casts are shown is quite different from traditional settings of white-walled galleries, or in the ornate and lavish settings in which they were often originally intended to sit. Yet, as is apparent through the reception of Crawford Gallery’s decisions in 2018, there has been a significant shift in the display of this type of seemingly ‘antiquated’ art.
The twenty-first century has seen a clear trend in the reframing of classical sculpture in a contemporary context. Take for example the work of French artist Léo Caillard, whose Hipsters in Stone were featured in King’s College London’s The Classical Now exhibition, also in 2018. Caillard was commissioned to do as he had previously done to classical sculptures, dress the statues above the entrance to Bush House, part of the College’s Strand campus, in twenty-first century hipster fashion. Beyond a temporary visual hybrid reflecting interest in bringing classical art into the modern age, Crawford Gallery’s decision to take permanent action in modernising its collection of casts has resulted in an energised and streamlined display.
Recasting Canova is an ongoing exhibition at the Crawford Gallery in Cork City Centre, admission is free.
The Crawford Gallery, located in the heart of Cork City, offers a unique experience to its visitors, boasting an impressive collection of casts of some of the most iconic and recognisable sculptures in the world. Recasting Canova, curated by Dr Michael Waldron - the ongoing exhibition in which the casts are displayed - celebrates the bicentenary of the Canova cast collection constructed under the supervision of sculptor Antonio Canova in the early 19th century.
But first, to share a bit of history: Commissioned by Pope Pius VII as a gift for the Prince Regent - and later King - George IV, in thanks for deposing Napoleon at the Battle of Waterloo in 1815, the Canova casts appear as a gesture of goodwill and friendship - yet there is more to this seemingly generous offer than meets the eye. In 1797, the Treaty of Tolentino was signed between the Papal States and France, allowing works of art to be confiscated from the Papal States by France; specifically the Apollo Belvedere and Laocoön and His Sons. Despite significant opposition to the motion, the sculptures were taken, and Pope Pius VII was detained by the French from 1809-1814.
After the fall of Napoleon, the pope was released and Canova was tasked with negotiating the return of the artworks to Rome, which were later successfully and safely returned to Italy. At this time, Pope Pius VII set Canova the grander task of overseeing the casting of 200 works of art, intended as a gift to the British. High-quality plaster reproductions were incredibly popular during
this period, meaning that the casts would make a fine gift for the future king and, when the casts arrived in London, they were briefly celebrated in the Custom House. After being temporarily relocated to the gardens of Carlton House, the London living quarters of the Prince Regent, they were then offered to the Royal Academy, who were forced to turn them down due to lack of space. Word reached William Hare - Viscount to Ennismore and Listowel, and more importantly president of the Cork Society for Promoting the Fine Arts - that the casts were up for offer. Hare requested that the cast collection be bestowed upon the city of Cork, an important maritime town of the empire, and the Prince Regent agreed. According to the Belfast Newsletter, this was to “enable the rising artists of the sister kingdom to establish an adequate school of study.” The casts arrived in Ireland in November of 1818, prompting the formation of the Cork School of Art and its ‘saloon of sculpture’; now known as CIT Crawford College of Art & Design and Crawford Art Gallery.
Recasting Canova opened in 2018 into a visually dynamic and dramatic curatorial landscape. A problem often encountered by curators of classical sculpture, is how to allow the works of art to stand out against the often white and sanitary environment of an art gallery. In order to combat this issue, the curators at the Crawford made the decision that would totally define the exhibition. With the opening of Recasting Canova, the previously beige walls of the gallery were painted a bright, bold shade of blue, allowing the pieces to not only stand out against the contrasting colour but come alive in the space. The use of blue allows the space to turn from two dimensional, to three-dimensional, giving the casts an almost startling sense of depth. This blue - in fact, almost turquoise - is illuminating, stretching the room open instead of compressing it. The curators were aware of the power that such a strong colour could have on the room framing the casts rather than dominating or overshadowing them. The positive effect is achieved by painting the lower half of the room in energetic blue and leaving the top half of the room a bright, minimalist white. This attentive organization of colour brings the room to a perfect harmony; the casts remain the focal point, standing out against their background, and allowed to thrive in their space. The majority of the casts are placed quite high on plinths, bringing their centre points closer to eye level, with the plinths themselves painted a muted grey to compliment the blue and white, but essentially blend into the background.
The colour story that went along with Recasting Canova was deemed so successful that it has become the defining motif of the exhibition. The trademark blue is visible on all of the advertisements, marketing material, gallery brochures and more; blue now defines the visual language of the casts, as does minimalist design. The Crawford space in which the casts are shown is quite different from traditional settings of white-walled galleries, or in the ornate and lavish settings in which they were often originally intended to sit. Yet, as is apparent through the reception of Crawford Gallery’s decisions in 2018, there has been a significant shift in the display of this type of seemingly ‘antiquated’ art.
The twenty-first century has seen a clear trend in the reframing of classical sculpture in a contemporary context. Take for example the work of French artist Léo Caillard, whose Hipsters in Stone were featured in King’s College London’s The Classical Now exhibition, also in 2018. Caillard was commissioned to do as he had previously done to classical sculptures, dress the statues above the entrance to Bush House, part of the College’s Strand campus, in twenty-first century hipster fashion. Beyond a temporary visual hybrid reflecting interest in bringing classical art into the modern age, Crawford Gallery’s decision to take permanent action in modernising its collection of casts has resulted in an energised and streamlined display.
Recasting Canova is an ongoing exhibition at the Crawford Gallery in Cork City Centre, admission is free.
The Crawford Gallery, located in the heart of Cork City, offers a unique experience to its visitors, boasting an impressive collection of casts of some of the most iconic and recognisable sculptures in the world. Recasting Canova, curated by Dr Michael Waldron - the ongoing exhibition in which the casts are displayed - celebrates the bicentenary of the Canova cast collection constructed under the supervision of sculptor Antonio Canova in the early 19th century.
But first, to share a bit of history: Commissioned by Pope Pius VII as a gift for the Prince Regent - and later King - George IV, in thanks for deposing Napoleon at the Battle of Waterloo in 1815, the Canova casts appear as a gesture of goodwill and friendship - yet there is more to this seemingly generous offer than meets the eye. In 1797, the Treaty of Tolentino was signed between the Papal States and France, allowing works of art to be confiscated from the Papal States by France; specifically the Apollo Belvedere and Laocoön and His Sons. Despite significant opposition to the motion, the sculptures were taken, and Pope Pius VII was detained by the French from 1809-1814.
After the fall of Napoleon, the pope was released and Canova was tasked with negotiating the return of the artworks to Rome, which were later successfully and safely returned to Italy. At this time, Pope Pius VII set Canova the grander task of overseeing the casting of 200 works of art, intended as a gift to the British. High-quality plaster reproductions were incredibly popular during
this period, meaning that the casts would make a fine gift for the future king and, when the casts arrived in London, they were briefly celebrated in the Custom House. After being temporarily relocated to the gardens of Carlton House, the London living quarters of the Prince Regent, they were then offered to the Royal Academy, who were forced to turn them down due to lack of space. Word reached William Hare - Viscount to Ennismore and Listowel, and more importantly president of the Cork Society for Promoting the Fine Arts - that the casts were up for offer. Hare requested that the cast collection be bestowed upon the city of Cork, an important maritime town of the empire, and the Prince Regent agreed. According to the Belfast Newsletter, this was to “enable the rising artists of the sister kingdom to establish an adequate school of study.” The casts arrived in Ireland in November of 1818, prompting the formation of the Cork School of Art and its ‘saloon of sculpture’; now known as CIT Crawford College of Art & Design and Crawford Art Gallery.
Recasting Canova opened in 2018 into a visually dynamic and dramatic curatorial landscape. A problem often encountered by curators of classical sculpture, is how to allow the works of art to stand out against the often white and sanitary environment of an art gallery. In order to combat this issue, the curators at the Crawford made the decision that would totally define the exhibition. With the opening of Recasting Canova, the previously beige walls of the gallery were painted a bright, bold shade of blue, allowing the pieces to not only stand out against the contrasting colour but come alive in the space. The use of blue allows the space to turn from two dimensional, to three-dimensional, giving the casts an almost startling sense of depth. This blue - in fact, almost turquoise - is illuminating, stretching the room open instead of compressing it. The curators were aware of the power that such a strong colour could have on the room framing the casts rather than dominating or overshadowing them. The positive effect is achieved by painting the lower half of the room in energetic blue and leaving the top half of the room a bright, minimalist white. This attentive organization of colour brings the room to a perfect harmony; the casts remain the focal point, standing out against their background, and allowed to thrive in their space. The majority of the casts are placed quite high on plinths, bringing their centre points closer to eye level, with the plinths themselves painted a muted grey to compliment the blue and white, but essentially blend into the background.
The colour story that went along with Recasting Canova was deemed so successful that it has become the defining motif of the exhibition. The trademark blue is visible on all of the advertisements, marketing material, gallery brochures and more; blue now defines the visual language of the casts, as does minimalist design. The Crawford space in which the casts are shown is quite different from traditional settings of white-walled galleries, or in the ornate and lavish settings in which they were often originally intended to sit. Yet, as is apparent through the reception of Crawford Gallery’s decisions in 2018, there has been a significant shift in the display of this type of seemingly ‘antiquated’ art.
The twenty-first century has seen a clear trend in the reframing of classical sculpture in a contemporary context. Take for example the work of French artist Léo Caillard, whose Hipsters in Stone were featured in King’s College London’s The Classical Now exhibition, also in 2018. Caillard was commissioned to do as he had previously done to classical sculptures, dress the statues above the entrance to Bush House, part of the College’s Strand campus, in twenty-first century hipster fashion. Beyond a temporary visual hybrid reflecting interest in bringing classical art into the modern age, Crawford Gallery’s decision to take permanent action in modernising its collection of casts has resulted in an energised and streamlined display.
Recasting Canova is an ongoing exhibition at the Crawford Gallery in Cork City Centre, admission is free.
The Crawford Gallery, located in the heart of Cork City, offers a unique experience to its visitors, boasting an impressive collection of casts of some of the most iconic and recognisable sculptures in the world. Recasting Canova, curated by Dr Michael Waldron - the ongoing exhibition in which the casts are displayed - celebrates the bicentenary of the Canova cast collection constructed under the supervision of sculptor Antonio Canova in the early 19th century.
But first, to share a bit of history: Commissioned by Pope Pius VII as a gift for the Prince Regent - and later King - George IV, in thanks for deposing Napoleon at the Battle of Waterloo in 1815, the Canova casts appear as a gesture of goodwill and friendship - yet there is more to this seemingly generous offer than meets the eye. In 1797, the Treaty of Tolentino was signed between the Papal States and France, allowing works of art to be confiscated from the Papal States by France; specifically the Apollo Belvedere and Laocoön and His Sons. Despite significant opposition to the motion, the sculptures were taken, and Pope Pius VII was detained by the French from 1809-1814.
After the fall of Napoleon, the pope was released and Canova was tasked with negotiating the return of the artworks to Rome, which were later successfully and safely returned to Italy. At this time, Pope Pius VII set Canova the grander task of overseeing the casting of 200 works of art, intended as a gift to the British. High-quality plaster reproductions were incredibly popular during
this period, meaning that the casts would make a fine gift for the future king and, when the casts arrived in London, they were briefly celebrated in the Custom House. After being temporarily relocated to the gardens of Carlton House, the London living quarters of the Prince Regent, they were then offered to the Royal Academy, who were forced to turn them down due to lack of space. Word reached William Hare - Viscount to Ennismore and Listowel, and more importantly president of the Cork Society for Promoting the Fine Arts - that the casts were up for offer. Hare requested that the cast collection be bestowed upon the city of Cork, an important maritime town of the empire, and the Prince Regent agreed. According to the Belfast Newsletter, this was to “enable the rising artists of the sister kingdom to establish an adequate school of study.” The casts arrived in Ireland in November of 1818, prompting the formation of the Cork School of Art and its ‘saloon of sculpture’; now known as CIT Crawford College of Art & Design and Crawford Art Gallery.
Recasting Canova opened in 2018 into a visually dynamic and dramatic curatorial landscape. A problem often encountered by curators of classical sculpture, is how to allow the works of art to stand out against the often white and sanitary environment of an art gallery. In order to combat this issue, the curators at the Crawford made the decision that would totally define the exhibition. With the opening of Recasting Canova, the previously beige walls of the gallery were painted a bright, bold shade of blue, allowing the pieces to not only stand out against the contrasting colour but come alive in the space. The use of blue allows the space to turn from two dimensional, to three-dimensional, giving the casts an almost startling sense of depth. This blue - in fact, almost turquoise - is illuminating, stretching the room open instead of compressing it. The curators were aware of the power that such a strong colour could have on the room framing the casts rather than dominating or overshadowing them. The positive effect is achieved by painting the lower half of the room in energetic blue and leaving the top half of the room a bright, minimalist white. This attentive organization of colour brings the room to a perfect harmony; the casts remain the focal point, standing out against their background, and allowed to thrive in their space. The majority of the casts are placed quite high on plinths, bringing their centre points closer to eye level, with the plinths themselves painted a muted grey to compliment the blue and white, but essentially blend into the background.
The colour story that went along with Recasting Canova was deemed so successful that it has become the defining motif of the exhibition. The trademark blue is visible on all of the advertisements, marketing material, gallery brochures and more; blue now defines the visual language of the casts, as does minimalist design. The Crawford space in which the casts are shown is quite different from traditional settings of white-walled galleries, or in the ornate and lavish settings in which they were often originally intended to sit. Yet, as is apparent through the reception of Crawford Gallery’s decisions in 2018, there has been a significant shift in the display of this type of seemingly ‘antiquated’ art.
The twenty-first century has seen a clear trend in the reframing of classical sculpture in a contemporary context. Take for example the work of French artist Léo Caillard, whose Hipsters in Stone were featured in King’s College London’s The Classical Now exhibition, also in 2018. Caillard was commissioned to do as he had previously done to classical sculptures, dress the statues above the entrance to Bush House, part of the College’s Strand campus, in twenty-first century hipster fashion. Beyond a temporary visual hybrid reflecting interest in bringing classical art into the modern age, Crawford Gallery’s decision to take permanent action in modernising its collection of casts has resulted in an energised and streamlined display.
Recasting Canova is an ongoing exhibition at the Crawford Gallery in Cork City Centre, admission is free.
The Crawford Gallery, located in the heart of Cork City, offers a unique experience to its visitors, boasting an impressive collection of casts of some of the most iconic and recognisable sculptures in the world. Recasting Canova, curated by Dr Michael Waldron - the ongoing exhibition in which the casts are displayed - celebrates the bicentenary of the Canova cast collection constructed under the supervision of sculptor Antonio Canova in the early 19th century.
But first, to share a bit of history: Commissioned by Pope Pius VII as a gift for the Prince Regent - and later King - George IV, in thanks for deposing Napoleon at the Battle of Waterloo in 1815, the Canova casts appear as a gesture of goodwill and friendship - yet there is more to this seemingly generous offer than meets the eye. In 1797, the Treaty of Tolentino was signed between the Papal States and France, allowing works of art to be confiscated from the Papal States by France; specifically the Apollo Belvedere and Laocoön and His Sons. Despite significant opposition to the motion, the sculptures were taken, and Pope Pius VII was detained by the French from 1809-1814.
After the fall of Napoleon, the pope was released and Canova was tasked with negotiating the return of the artworks to Rome, which were later successfully and safely returned to Italy. At this time, Pope Pius VII set Canova the grander task of overseeing the casting of 200 works of art, intended as a gift to the British. High-quality plaster reproductions were incredibly popular during
this period, meaning that the casts would make a fine gift for the future king and, when the casts arrived in London, they were briefly celebrated in the Custom House. After being temporarily relocated to the gardens of Carlton House, the London living quarters of the Prince Regent, they were then offered to the Royal Academy, who were forced to turn them down due to lack of space. Word reached William Hare - Viscount to Ennismore and Listowel, and more importantly president of the Cork Society for Promoting the Fine Arts - that the casts were up for offer. Hare requested that the cast collection be bestowed upon the city of Cork, an important maritime town of the empire, and the Prince Regent agreed. According to the Belfast Newsletter, this was to “enable the rising artists of the sister kingdom to establish an adequate school of study.” The casts arrived in Ireland in November of 1818, prompting the formation of the Cork School of Art and its ‘saloon of sculpture’; now known as CIT Crawford College of Art & Design and Crawford Art Gallery.
Recasting Canova opened in 2018 into a visually dynamic and dramatic curatorial landscape. A problem often encountered by curators of classical sculpture, is how to allow the works of art to stand out against the often white and sanitary environment of an art gallery. In order to combat this issue, the curators at the Crawford made the decision that would totally define the exhibition. With the opening of Recasting Canova, the previously beige walls of the gallery were painted a bright, bold shade of blue, allowing the pieces to not only stand out against the contrasting colour but come alive in the space. The use of blue allows the space to turn from two dimensional, to three-dimensional, giving the casts an almost startling sense of depth. This blue - in fact, almost turquoise - is illuminating, stretching the room open instead of compressing it. The curators were aware of the power that such a strong colour could have on the room framing the casts rather than dominating or overshadowing them. The positive effect is achieved by painting the lower half of the room in energetic blue and leaving the top half of the room a bright, minimalist white. This attentive organization of colour brings the room to a perfect harmony; the casts remain the focal point, standing out against their background, and allowed to thrive in their space. The majority of the casts are placed quite high on plinths, bringing their centre points closer to eye level, with the plinths themselves painted a muted grey to compliment the blue and white, but essentially blend into the background.
The colour story that went along with Recasting Canova was deemed so successful that it has become the defining motif of the exhibition. The trademark blue is visible on all of the advertisements, marketing material, gallery brochures and more; blue now defines the visual language of the casts, as does minimalist design. The Crawford space in which the casts are shown is quite different from traditional settings of white-walled galleries, or in the ornate and lavish settings in which they were often originally intended to sit. Yet, as is apparent through the reception of Crawford Gallery’s decisions in 2018, there has been a significant shift in the display of this type of seemingly ‘antiquated’ art.
The twenty-first century has seen a clear trend in the reframing of classical sculpture in a contemporary context. Take for example the work of French artist Léo Caillard, whose Hipsters in Stone were featured in King’s College London’s The Classical Now exhibition, also in 2018. Caillard was commissioned to do as he had previously done to classical sculptures, dress the statues above the entrance to Bush House, part of the College’s Strand campus, in twenty-first century hipster fashion. Beyond a temporary visual hybrid reflecting interest in bringing classical art into the modern age, Crawford Gallery’s decision to take permanent action in modernising its collection of casts has resulted in an energised and streamlined display.
Recasting Canova is an ongoing exhibition at the Crawford Gallery in Cork City Centre, admission is free.
The Crawford Gallery, located in the heart of Cork City, offers a unique experience to its visitors, boasting an impressive collection of casts of some of the most iconic and recognisable sculptures in the world. Recasting Canova, curated by Dr Michael Waldron - the ongoing exhibition in which the casts are displayed - celebrates the bicentenary of the Canova cast collection constructed under the supervision of sculptor Antonio Canova in the early 19th century.
But first, to share a bit of history: Commissioned by Pope Pius VII as a gift for the Prince Regent - and later King - George IV, in thanks for deposing Napoleon at the Battle of Waterloo in 1815, the Canova casts appear as a gesture of goodwill and friendship - yet there is more to this seemingly generous offer than meets the eye. In 1797, the Treaty of Tolentino was signed between the Papal States and France, allowing works of art to be confiscated from the Papal States by France; specifically the Apollo Belvedere and Laocoön and His Sons. Despite significant opposition to the motion, the sculptures were taken, and Pope Pius VII was detained by the French from 1809-1814.
After the fall of Napoleon, the pope was released and Canova was tasked with negotiating the return of the artworks to Rome, which were later successfully and safely returned to Italy. At this time, Pope Pius VII set Canova the grander task of overseeing the casting of 200 works of art, intended as a gift to the British. High-quality plaster reproductions were incredibly popular during
this period, meaning that the casts would make a fine gift for the future king and, when the casts arrived in London, they were briefly celebrated in the Custom House. After being temporarily relocated to the gardens of Carlton House, the London living quarters of the Prince Regent, they were then offered to the Royal Academy, who were forced to turn them down due to lack of space. Word reached William Hare - Viscount to Ennismore and Listowel, and more importantly president of the Cork Society for Promoting the Fine Arts - that the casts were up for offer. Hare requested that the cast collection be bestowed upon the city of Cork, an important maritime town of the empire, and the Prince Regent agreed. According to the Belfast Newsletter, this was to “enable the rising artists of the sister kingdom to establish an adequate school of study.” The casts arrived in Ireland in November of 1818, prompting the formation of the Cork School of Art and its ‘saloon of sculpture’; now known as CIT Crawford College of Art & Design and Crawford Art Gallery.
Recasting Canova opened in 2018 into a visually dynamic and dramatic curatorial landscape. A problem often encountered by curators of classical sculpture, is how to allow the works of art to stand out against the often white and sanitary environment of an art gallery. In order to combat this issue, the curators at the Crawford made the decision that would totally define the exhibition. With the opening of Recasting Canova, the previously beige walls of the gallery were painted a bright, bold shade of blue, allowing the pieces to not only stand out against the contrasting colour but come alive in the space. The use of blue allows the space to turn from two dimensional, to three-dimensional, giving the casts an almost startling sense of depth. This blue - in fact, almost turquoise - is illuminating, stretching the room open instead of compressing it. The curators were aware of the power that such a strong colour could have on the room framing the casts rather than dominating or overshadowing them. The positive effect is achieved by painting the lower half of the room in energetic blue and leaving the top half of the room a bright, minimalist white. This attentive organization of colour brings the room to a perfect harmony; the casts remain the focal point, standing out against their background, and allowed to thrive in their space. The majority of the casts are placed quite high on plinths, bringing their centre points closer to eye level, with the plinths themselves painted a muted grey to compliment the blue and white, but essentially blend into the background.
The colour story that went along with Recasting Canova was deemed so successful that it has become the defining motif of the exhibition. The trademark blue is visible on all of the advertisements, marketing material, gallery brochures and more; blue now defines the visual language of the casts, as does minimalist design. The Crawford space in which the casts are shown is quite different from traditional settings of white-walled galleries, or in the ornate and lavish settings in which they were often originally intended to sit. Yet, as is apparent through the reception of Crawford Gallery’s decisions in 2018, there has been a significant shift in the display of this type of seemingly ‘antiquated’ art.
The twenty-first century has seen a clear trend in the reframing of classical sculpture in a contemporary context. Take for example the work of French artist Léo Caillard, whose Hipsters in Stone were featured in King’s College London’s The Classical Now exhibition, also in 2018. Caillard was commissioned to do as he had previously done to classical sculptures, dress the statues above the entrance to Bush House, part of the College’s Strand campus, in twenty-first century hipster fashion. Beyond a temporary visual hybrid reflecting interest in bringing classical art into the modern age, Crawford Gallery’s decision to take permanent action in modernising its collection of casts has resulted in an energised and streamlined display.
Recasting Canova is an ongoing exhibition at the Crawford Gallery in Cork City Centre, admission is free.
The Crawford Gallery, located in the heart of Cork City, offers a unique experience to its visitors, boasting an impressive collection of casts of some of the most iconic and recognisable sculptures in the world. Recasting Canova, curated by Dr Michael Waldron - the ongoing exhibition in which the casts are displayed - celebrates the bicentenary of the Canova cast collection constructed under the supervision of sculptor Antonio Canova in the early 19th century.
But first, to share a bit of history: Commissioned by Pope Pius VII as a gift for the Prince Regent - and later King - George IV, in thanks for deposing Napoleon at the Battle of Waterloo in 1815, the Canova casts appear as a gesture of goodwill and friendship - yet there is more to this seemingly generous offer than meets the eye. In 1797, the Treaty of Tolentino was signed between the Papal States and France, allowing works of art to be confiscated from the Papal States by France; specifically the Apollo Belvedere and Laocoön and His Sons. Despite significant opposition to the motion, the sculptures were taken, and Pope Pius VII was detained by the French from 1809-1814.
After the fall of Napoleon, the pope was released and Canova was tasked with negotiating the return of the artworks to Rome, which were later successfully and safely returned to Italy. At this time, Pope Pius VII set Canova the grander task of overseeing the casting of 200 works of art, intended as a gift to the British. High-quality plaster reproductions were incredibly popular during
this period, meaning that the casts would make a fine gift for the future king and, when the casts arrived in London, they were briefly celebrated in the Custom House. After being temporarily relocated to the gardens of Carlton House, the London living quarters of the Prince Regent, they were then offered to the Royal Academy, who were forced to turn them down due to lack of space. Word reached William Hare - Viscount to Ennismore and Listowel, and more importantly president of the Cork Society for Promoting the Fine Arts - that the casts were up for offer. Hare requested that the cast collection be bestowed upon the city of Cork, an important maritime town of the empire, and the Prince Regent agreed. According to the Belfast Newsletter, this was to “enable the rising artists of the sister kingdom to establish an adequate school of study.” The casts arrived in Ireland in November of 1818, prompting the formation of the Cork School of Art and its ‘saloon of sculpture’; now known as CIT Crawford College of Art & Design and Crawford Art Gallery.
Recasting Canova opened in 2018 into a visually dynamic and dramatic curatorial landscape. A problem often encountered by curators of classical sculpture, is how to allow the works of art to stand out against the often white and sanitary environment of an art gallery. In order to combat this issue, the curators at the Crawford made the decision that would totally define the exhibition. With the opening of Recasting Canova, the previously beige walls of the gallery were painted a bright, bold shade of blue, allowing the pieces to not only stand out against the contrasting colour but come alive in the space. The use of blue allows the space to turn from two dimensional, to three-dimensional, giving the casts an almost startling sense of depth. This blue - in fact, almost turquoise - is illuminating, stretching the room open instead of compressing it. The curators were aware of the power that such a strong colour could have on the room framing the casts rather than dominating or overshadowing them. The positive effect is achieved by painting the lower half of the room in energetic blue and leaving the top half of the room a bright, minimalist white. This attentive organization of colour brings the room to a perfect harmony; the casts remain the focal point, standing out against their background, and allowed to thrive in their space. The majority of the casts are placed quite high on plinths, bringing their centre points closer to eye level, with the plinths themselves painted a muted grey to compliment the blue and white, but essentially blend into the background.
The colour story that went along with Recasting Canova was deemed so successful that it has become the defining motif of the exhibition. The trademark blue is visible on all of the advertisements, marketing material, gallery brochures and more; blue now defines the visual language of the casts, as does minimalist design. The Crawford space in which the casts are shown is quite different from traditional settings of white-walled galleries, or in the ornate and lavish settings in which they were often originally intended to sit. Yet, as is apparent through the reception of Crawford Gallery’s decisions in 2018, there has been a significant shift in the display of this type of seemingly ‘antiquated’ art.
The twenty-first century has seen a clear trend in the reframing of classical sculpture in a contemporary context. Take for example the work of French artist Léo Caillard, whose Hipsters in Stone were featured in King’s College London’s The Classical Now exhibition, also in 2018. Caillard was commissioned to do as he had previously done to classical sculptures, dress the statues above the entrance to Bush House, part of the College’s Strand campus, in twenty-first century hipster fashion. Beyond a temporary visual hybrid reflecting interest in bringing classical art into the modern age, Crawford Gallery’s decision to take permanent action in modernising its collection of casts has resulted in an energised and streamlined display.
Recasting Canova is an ongoing exhibition at the Crawford Gallery in Cork City Centre, admission is free.
The Crawford Gallery, located in the heart of Cork City, offers a unique experience to its visitors, boasting an impressive collection of casts of some of the most iconic and recognisable sculptures in the world. Recasting Canova, curated by Dr Michael Waldron - the ongoing exhibition in which the casts are displayed - celebrates the bicentenary of the Canova cast collection constructed under the supervision of sculptor Antonio Canova in the early 19th century.
But first, to share a bit of history: Commissioned by Pope Pius VII as a gift for the Prince Regent - and later King - George IV, in thanks for deposing Napoleon at the Battle of Waterloo in 1815, the Canova casts appear as a gesture of goodwill and friendship - yet there is more to this seemingly generous offer than meets the eye. In 1797, the Treaty of Tolentino was signed between the Papal States and France, allowing works of art to be confiscated from the Papal States by France; specifically the Apollo Belvedere and Laocoön and His Sons. Despite significant opposition to the motion, the sculptures were taken, and Pope Pius VII was detained by the French from 1809-1814.
After the fall of Napoleon, the pope was released and Canova was tasked with negotiating the return of the artworks to Rome, which were later successfully and safely returned to Italy. At this time, Pope Pius VII set Canova the grander task of overseeing the casting of 200 works of art, intended as a gift to the British. High-quality plaster reproductions were incredibly popular during
this period, meaning that the casts would make a fine gift for the future king and, when the casts arrived in London, they were briefly celebrated in the Custom House. After being temporarily relocated to the gardens of Carlton House, the London living quarters of the Prince Regent, they were then offered to the Royal Academy, who were forced to turn them down due to lack of space. Word reached William Hare - Viscount to Ennismore and Listowel, and more importantly president of the Cork Society for Promoting the Fine Arts - that the casts were up for offer. Hare requested that the cast collection be bestowed upon the city of Cork, an important maritime town of the empire, and the Prince Regent agreed. According to the Belfast Newsletter, this was to “enable the rising artists of the sister kingdom to establish an adequate school of study.” The casts arrived in Ireland in November of 1818, prompting the formation of the Cork School of Art and its ‘saloon of sculpture’; now known as CIT Crawford College of Art & Design and Crawford Art Gallery.
Recasting Canova opened in 2018 into a visually dynamic and dramatic curatorial landscape. A problem often encountered by curators of classical sculpture, is how to allow the works of art to stand out against the often white and sanitary environment of an art gallery. In order to combat this issue, the curators at the Crawford made the decision that would totally define the exhibition. With the opening of Recasting Canova, the previously beige walls of the gallery were painted a bright, bold shade of blue, allowing the pieces to not only stand out against the contrasting colour but come alive in the space. The use of blue allows the space to turn from two dimensional, to three-dimensional, giving the casts an almost startling sense of depth. This blue - in fact, almost turquoise - is illuminating, stretching the room open instead of compressing it. The curators were aware of the power that such a strong colour could have on the room framing the casts rather than dominating or overshadowing them. The positive effect is achieved by painting the lower half of the room in energetic blue and leaving the top half of the room a bright, minimalist white. This attentive organization of colour brings the room to a perfect harmony; the casts remain the focal point, standing out against their background, and allowed to thrive in their space. The majority of the casts are placed quite high on plinths, bringing their centre points closer to eye level, with the plinths themselves painted a muted grey to compliment the blue and white, but essentially blend into the background.
The colour story that went along with Recasting Canova was deemed so successful that it has become the defining motif of the exhibition. The trademark blue is visible on all of the advertisements, marketing material, gallery brochures and more; blue now defines the visual language of the casts, as does minimalist design. The Crawford space in which the casts are shown is quite different from traditional settings of white-walled galleries, or in the ornate and lavish settings in which they were often originally intended to sit. Yet, as is apparent through the reception of Crawford Gallery’s decisions in 2018, there has been a significant shift in the display of this type of seemingly ‘antiquated’ art.
The twenty-first century has seen a clear trend in the reframing of classical sculpture in a contemporary context. Take for example the work of French artist Léo Caillard, whose Hipsters in Stone were featured in King’s College London’s The Classical Now exhibition, also in 2018. Caillard was commissioned to do as he had previously done to classical sculptures, dress the statues above the entrance to Bush House, part of the College’s Strand campus, in twenty-first century hipster fashion. Beyond a temporary visual hybrid reflecting interest in bringing classical art into the modern age, Crawford Gallery’s decision to take permanent action in modernising its collection of casts has resulted in an energised and streamlined display.
Recasting Canova is an ongoing exhibition at the Crawford Gallery in Cork City Centre, admission is free.
The Crawford Gallery, located in the heart of Cork City, offers a unique experience to its visitors, boasting an impressive collection of casts of some of the most iconic and recognisable sculptures in the world. Recasting Canova, curated by Dr Michael Waldron - the ongoing exhibition in which the casts are displayed - celebrates the bicentenary of the Canova cast collection constructed under the supervision of sculptor Antonio Canova in the early 19th century.
But first, to share a bit of history: Commissioned by Pope Pius VII as a gift for the Prince Regent - and later King - George IV, in thanks for deposing Napoleon at the Battle of Waterloo in 1815, the Canova casts appear as a gesture of goodwill and friendship - yet there is more to this seemingly generous offer than meets the eye. In 1797, the Treaty of Tolentino was signed between the Papal States and France, allowing works of art to be confiscated from the Papal States by France; specifically the Apollo Belvedere and Laocoön and His Sons. Despite significant opposition to the motion, the sculptures were taken, and Pope Pius VII was detained by the French from 1809-1814.
After the fall of Napoleon, the pope was released and Canova was tasked with negotiating the return of the artworks to Rome, which were later successfully and safely returned to Italy. At this time, Pope Pius VII set Canova the grander task of overseeing the casting of 200 works of art, intended as a gift to the British. High-quality plaster reproductions were incredibly popular during
this period, meaning that the casts would make a fine gift for the future king and, when the casts arrived in London, they were briefly celebrated in the Custom House. After being temporarily relocated to the gardens of Carlton House, the London living quarters of the Prince Regent, they were then offered to the Royal Academy, who were forced to turn them down due to lack of space. Word reached William Hare - Viscount to Ennismore and Listowel, and more importantly president of the Cork Society for Promoting the Fine Arts - that the casts were up for offer. Hare requested that the cast collection be bestowed upon the city of Cork, an important maritime town of the empire, and the Prince Regent agreed. According to the Belfast Newsletter, this was to “enable the rising artists of the sister kingdom to establish an adequate school of study.” The casts arrived in Ireland in November of 1818, prompting the formation of the Cork School of Art and its ‘saloon of sculpture’; now known as CIT Crawford College of Art & Design and Crawford Art Gallery.
Recasting Canova opened in 2018 into a visually dynamic and dramatic curatorial landscape. A problem often encountered by curators of classical sculpture, is how to allow the works of art to stand out against the often white and sanitary environment of an art gallery. In order to combat this issue, the curators at the Crawford made the decision that would totally define the exhibition. With the opening of Recasting Canova, the previously beige walls of the gallery were painted a bright, bold shade of blue, allowing the pieces to not only stand out against the contrasting colour but come alive in the space. The use of blue allows the space to turn from two dimensional, to three-dimensional, giving the casts an almost startling sense of depth. This blue - in fact, almost turquoise - is illuminating, stretching the room open instead of compressing it. The curators were aware of the power that such a strong colour could have on the room framing the casts rather than dominating or overshadowing them. The positive effect is achieved by painting the lower half of the room in energetic blue and leaving the top half of the room a bright, minimalist white. This attentive organization of colour brings the room to a perfect harmony; the casts remain the focal point, standing out against their background, and allowed to thrive in their space. The majority of the casts are placed quite high on plinths, bringing their centre points closer to eye level, with the plinths themselves painted a muted grey to compliment the blue and white, but essentially blend into the background.
The colour story that went along with Recasting Canova was deemed so successful that it has become the defining motif of the exhibition. The trademark blue is visible on all of the advertisements, marketing material, gallery brochures and more; blue now defines the visual language of the casts, as does minimalist design. The Crawford space in which the casts are shown is quite different from traditional settings of white-walled galleries, or in the ornate and lavish settings in which they were often originally intended to sit. Yet, as is apparent through the reception of Crawford Gallery’s decisions in 2018, there has been a significant shift in the display of this type of seemingly ‘antiquated’ art.
The twenty-first century has seen a clear trend in the reframing of classical sculpture in a contemporary context. Take for example the work of French artist Léo Caillard, whose Hipsters in Stone were featured in King’s College London’s The Classical Now exhibition, also in 2018. Caillard was commissioned to do as he had previously done to classical sculptures, dress the statues above the entrance to Bush House, part of the College’s Strand campus, in twenty-first century hipster fashion. Beyond a temporary visual hybrid reflecting interest in bringing classical art into the modern age, Crawford Gallery’s decision to take permanent action in modernising its collection of casts has resulted in an energised and streamlined display.
Recasting Canova is an ongoing exhibition at the Crawford Gallery in Cork City Centre, admission is free.
The Crawford Gallery, located in the heart of Cork City, offers a unique experience to its visitors, boasting an impressive collection of casts of some of the most iconic and recognisable sculptures in the world. Recasting Canova, curated by Dr Michael Waldron - the ongoing exhibition in which the casts are displayed - celebrates the bicentenary of the Canova cast collection constructed under the supervision of sculptor Antonio Canova in the early 19th century.
But first, to share a bit of history: Commissioned by Pope Pius VII as a gift for the Prince Regent - and later King - George IV, in thanks for deposing Napoleon at the Battle of Waterloo in 1815, the Canova casts appear as a gesture of goodwill and friendship - yet there is more to this seemingly generous offer than meets the eye. In 1797, the Treaty of Tolentino was signed between the Papal States and France, allowing works of art to be confiscated from the Papal States by France; specifically the Apollo Belvedere and Laocoön and His Sons. Despite significant opposition to the motion, the sculptures were taken, and Pope Pius VII was detained by the French from 1809-1814.
After the fall of Napoleon, the pope was released and Canova was tasked with negotiating the return of the artworks to Rome, which were later successfully and safely returned to Italy. At this time, Pope Pius VII set Canova the grander task of overseeing the casting of 200 works of art, intended as a gift to the British. High-quality plaster reproductions were incredibly popular during
this period, meaning that the casts would make a fine gift for the future king and, when the casts arrived in London, they were briefly celebrated in the Custom House. After being temporarily relocated to the gardens of Carlton House, the London living quarters of the Prince Regent, they were then offered to the Royal Academy, who were forced to turn them down due to lack of space. Word reached William Hare - Viscount to Ennismore and Listowel, and more importantly president of the Cork Society for Promoting the Fine Arts - that the casts were up for offer. Hare requested that the cast collection be bestowed upon the city of Cork, an important maritime town of the empire, and the Prince Regent agreed. According to the Belfast Newsletter, this was to “enable the rising artists of the sister kingdom to establish an adequate school of study.” The casts arrived in Ireland in November of 1818, prompting the formation of the Cork School of Art and its ‘saloon of sculpture’; now known as CIT Crawford College of Art & Design and Crawford Art Gallery.
Recasting Canova opened in 2018 into a visually dynamic and dramatic curatorial landscape. A problem often encountered by curators of classical sculpture, is how to allow the works of art to stand out against the often white and sanitary environment of an art gallery. In order to combat this issue, the curators at the Crawford made the decision that would totally define the exhibition. With the opening of Recasting Canova, the previously beige walls of the gallery were painted a bright, bold shade of blue, allowing the pieces to not only stand out against the contrasting colour but come alive in the space. The use of blue allows the space to turn from two dimensional, to three-dimensional, giving the casts an almost startling sense of depth. This blue - in fact, almost turquoise - is illuminating, stretching the room open instead of compressing it. The curators were aware of the power that such a strong colour could have on the room framing the casts rather than dominating or overshadowing them. The positive effect is achieved by painting the lower half of the room in energetic blue and leaving the top half of the room a bright, minimalist white. This attentive organization of colour brings the room to a perfect harmony; the casts remain the focal point, standing out against their background, and allowed to thrive in their space. The majority of the casts are placed quite high on plinths, bringing their centre points closer to eye level, with the plinths themselves painted a muted grey to compliment the blue and white, but essentially blend into the background.
The colour story that went along with Recasting Canova was deemed so successful that it has become the defining motif of the exhibition. The trademark blue is visible on all of the advertisements, marketing material, gallery brochures and more; blue now defines the visual language of the casts, as does minimalist design. The Crawford space in which the casts are shown is quite different from traditional settings of white-walled galleries, or in the ornate and lavish settings in which they were often originally intended to sit. Yet, as is apparent through the reception of Crawford Gallery’s decisions in 2018, there has been a significant shift in the display of this type of seemingly ‘antiquated’ art.
The twenty-first century has seen a clear trend in the reframing of classical sculpture in a contemporary context. Take for example the work of French artist Léo Caillard, whose Hipsters in Stone were featured in King’s College London’s The Classical Now exhibition, also in 2018. Caillard was commissioned to do as he had previously done to classical sculptures, dress the statues above the entrance to Bush House, part of the College’s Strand campus, in twenty-first century hipster fashion. Beyond a temporary visual hybrid reflecting interest in bringing classical art into the modern age, Crawford Gallery’s decision to take permanent action in modernising its collection of casts has resulted in an energised and streamlined display.
Recasting Canova is an ongoing exhibition at the Crawford Gallery in Cork City Centre, admission is free.
The Crawford Gallery, located in the heart of Cork City, offers a unique experience to its visitors, boasting an impressive collection of casts of some of the most iconic and recognisable sculptures in the world. Recasting Canova, curated by Dr Michael Waldron - the ongoing exhibition in which the casts are displayed - celebrates the bicentenary of the Canova cast collection constructed under the supervision of sculptor Antonio Canova in the early 19th century.
But first, to share a bit of history: Commissioned by Pope Pius VII as a gift for the Prince Regent - and later King - George IV, in thanks for deposing Napoleon at the Battle of Waterloo in 1815, the Canova casts appear as a gesture of goodwill and friendship - yet there is more to this seemingly generous offer than meets the eye. In 1797, the Treaty of Tolentino was signed between the Papal States and France, allowing works of art to be confiscated from the Papal States by France; specifically the Apollo Belvedere and Laocoön and His Sons. Despite significant opposition to the motion, the sculptures were taken, and Pope Pius VII was detained by the French from 1809-1814.
After the fall of Napoleon, the pope was released and Canova was tasked with negotiating the return of the artworks to Rome, which were later successfully and safely returned to Italy. At this time, Pope Pius VII set Canova the grander task of overseeing the casting of 200 works of art, intended as a gift to the British. High-quality plaster reproductions were incredibly popular during
this period, meaning that the casts would make a fine gift for the future king and, when the casts arrived in London, they were briefly celebrated in the Custom House. After being temporarily relocated to the gardens of Carlton House, the London living quarters of the Prince Regent, they were then offered to the Royal Academy, who were forced to turn them down due to lack of space. Word reached William Hare - Viscount to Ennismore and Listowel, and more importantly president of the Cork Society for Promoting the Fine Arts - that the casts were up for offer. Hare requested that the cast collection be bestowed upon the city of Cork, an important maritime town of the empire, and the Prince Regent agreed. According to the Belfast Newsletter, this was to “enable the rising artists of the sister kingdom to establish an adequate school of study.” The casts arrived in Ireland in November of 1818, prompting the formation of the Cork School of Art and its ‘saloon of sculpture’; now known as CIT Crawford College of Art & Design and Crawford Art Gallery.
Recasting Canova opened in 2018 into a visually dynamic and dramatic curatorial landscape. A problem often encountered by curators of classical sculpture, is how to allow the works of art to stand out against the often white and sanitary environment of an art gallery. In order to combat this issue, the curators at the Crawford made the decision that would totally define the exhibition. With the opening of Recasting Canova, the previously beige walls of the gallery were painted a bright, bold shade of blue, allowing the pieces to not only stand out against the contrasting colour but come alive in the space. The use of blue allows the space to turn from two dimensional, to three-dimensional, giving the casts an almost startling sense of depth. This blue - in fact, almost turquoise - is illuminating, stretching the room open instead of compressing it. The curators were aware of the power that such a strong colour could have on the room framing the casts rather than dominating or overshadowing them. The positive effect is achieved by painting the lower half of the room in energetic blue and leaving the top half of the room a bright, minimalist white. This attentive organization of colour brings the room to a perfect harmony; the casts remain the focal point, standing out against their background, and allowed to thrive in their space. The majority of the casts are placed quite high on plinths, bringing their centre points closer to eye level, with the plinths themselves painted a muted grey to compliment the blue and white, but essentially blend into the background.
The colour story that went along with Recasting Canova was deemed so successful that it has become the defining motif of the exhibition. The trademark blue is visible on all of the advertisements, marketing material, gallery brochures and more; blue now defines the visual language of the casts, as does minimalist design. The Crawford space in which the casts are shown is quite different from traditional settings of white-walled galleries, or in the ornate and lavish settings in which they were often originally intended to sit. Yet, as is apparent through the reception of Crawford Gallery’s decisions in 2018, there has been a significant shift in the display of this type of seemingly ‘antiquated’ art.
The twenty-first century has seen a clear trend in the reframing of classical sculpture in a contemporary context. Take for example the work of French artist Léo Caillard, whose Hipsters in Stone were featured in King’s College London’s The Classical Now exhibition, also in 2018. Caillard was commissioned to do as he had previously done to classical sculptures, dress the statues above the entrance to Bush House, part of the College’s Strand campus, in twenty-first century hipster fashion. Beyond a temporary visual hybrid reflecting interest in bringing classical art into the modern age, Crawford Gallery’s decision to take permanent action in modernising its collection of casts has resulted in an energised and streamlined display.
Recasting Canova is an ongoing exhibition at the Crawford Gallery in Cork City Centre, admission is free.
