"Beauty and the Ideal": Antonio Canova at the Pinacoteca di Brera in Milan
From May 16th, 2025 to May 17th, 2026, the Pinacoteca di Brera in Milan, Italy, opens a new exhibition phase dedicated to Antonio Canova, radically transforming Room 1—the entrance to the museum itinerary. After years of serving various functions, the space now regains a central role through the display of 12 plaster busts by the neoclassical sculptor, on long-term loan from Banca Ifis. This reconfiguration marks the beginning of the museum’s new Department of Sculpture and Decorative Arts, which aims to reintegrate three-dimensional works from the collection, many of which have been excluded since 1902.
 LEFT: Antonio Canova, Vestal Virgin; RIGHT: The Beauty and the Ideal. The Canova Collection of Banca Ifis and the Traveling Gallery; Milan, Pinacoteca di Brera; installation view
The Return of the Vestal and a Tribute to Neoclassicism
Among the works on display, the long-awaited return of the “Vestal” stands out—a marble bust sculpted by Canova between 1818 and 1819, now placed at the center of the room. Its presence reinforces the dialogue with the plaster busts, forming a nucleus of rare stylistic coherence. In parallel, the installation includes the so-called “Traveling Gallery,” featuring enamel miniatures from the collection of Giovanni Battista Sommariva, a patron and collector close to Napoleonic ideals. The entire exhibition thus becomes a tribute to Neoclassicism—the founding style of Brera—evoked by artists such as Appiani, Bossi, and Canova himself.
LEFT: The Beauty and the Ideal. The Canova Collection by Banca Ifis and the Traveling Pinacoteca; Milan, Pinacoteca di Brera; installation view; RIGHT: The Beauty and the Ideal. The Canova Collection by Banca Ifis and the Traveling Pinacoteca; Milan, Pinacoteca di Brera; installation view
The Plaster Masterpieces: A Rediscovered Collection
The plaster busts, created between 1807 and 1818, were discovered in a villa in the province of Treviso and restored by Banca Ifis. Among the subjects represented are Hebe, Terpsichore, the Italic Venus, the personification of Peace, and various portraits of female members of the Bonaparte family. Some busts retain the “répères”—small markers used to transfer proportions from plaster to marble—offering a rare insight into Canova’s creative process.
LEFT: The Beauty and the Ideal. The Canova Collection by Banca Ifis and the Travelling Gallery; Milan, Pinacoteca di Brera; exhibition view; RIGHT: The Beauty and the Ideal. The Canova Collection by Banca Ifis and the Travelling Gallery; Milan, Pinacoteca di Brera; exhibition view
The Ifis Art Project: Patronage and Accessibility
The collaboration with Banca Ifis is part of a broader cultural initiative called “Ifis Art”, aimed at enhancing the value of art. In addition to supporting Brera, the project includes an International Sculpture Park in Mestre, the promotion of contemporary artists, and the restoration of Banksy’s “The Migrant Child” in Venice. Through these efforts, Banca Ifis seeks to democratize art, making it accessible to all while generating tangible social value.
LEFT: Antonio Canova, Vestal Virgin; photo by Flavia Berizzi; RIGHT: Antonio Canova, Vestal Virgin; photo by Flavia Berizzi
An Ideal of Beauty That Speaks to the Present
As emphasized by Director Angelo Crespi, this exhibition is not merely a tribute to the past, but a deliberate gesture of openness: Canova returns to Milan to convey the classical ideal of beauty as an ethical and universal value. Today more than ever, it is an invitation to rediscover the transformative power of art in public spaces, cultural institutions, and collective consciousness.
LEFT: Antonio Canova, Vestal Virgin; photo by Flavia Berizzi; RIGHT: Antonio Canova, Vestal Virgin; photo by Flavia Berizzi
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