The museum contains the original plaster models used by Canova's assistants to carve the final marble versions located in major museums worldwide.
The wing designed by architect Carlo Scarpa in 1957 is considered a landmark of 20th-century museum architecture due to its minimalist integration of light and space.
Canova was born in the house attached to the museum; the property still contains his family's original workshop equipment.
The collection includes the artist's own tools, brushes, and personal letters.
The plaster cast of the 'Three Graces' in the museum is the version from which the marble statue now at the Hermitage Museum was produced.
The 1836 Gipsoteca building was originally a basilica-style hall intended to display the casts in a unified, illuminated environment.
The Gipsoteca Antonio Canova houses the most comprehensive collection of plaster casts and terracotta models by the Neoclassical sculptor Antonio Canova. It is located in the artist’s hometown of Possagno, integrated into the site of his birthplace. The museum consists of two main sections: the original 19th-century Gipsoteca designed by Francesco Lazzari and an early 20th-century wing designed by Carlo Scarpa. The Scarpa-designed extension is celebrated for its precise use of natural light, which is filtered through overhead apertures to accentuate the contours of the sculptures. The collection includes full-scale models for famous works such as the 'Three Graces' and 'Cupid and Psyche'. The adjacent Tempio Canoviano, designed by Canova himself, serves as the parish church and mausoleum for the artist. Visitors can examine the transition from preparatory clay sketches to refined plaster casts. The site remains a primary international center for research on Canova’s artistic process.
The central axis of the Carlo Scarpa wing, looking toward the large floor-to-ceiling windows.
Allocate time to walk from the Gipsoteca to the Tempio Canoviano on the hill above for a complete overview of Canova's life and legacy.
Observe the plaster casts from multiple angles to identify the 'pointing marks'—small metal pins left by assistants during the marble-carving process.
Check for temporary exhibitions that often display drawings or items from the museum's extensive archives.
Do not rush through the Scarpa wing; the interplay of light on the sculptures is best appreciated with patience.
Closed on Mondays throughout the year.
Maintain a quiet volume; do not touch the plaster models as they are fragile and porous.
