Der jugendliche Amor

About this artwork

Die knabenhafte Figur Amors ist das erste größere Werk, das Schaller in Rom schuf. Als Material wählte er "das schönste und edelste", den Marmor, der seiner Meinung nach "dem Künstler bey aller Mühe doch immer das meiste Vergnügen gewährt", wie er in einem Brief vom 22. April 1815 aus Rom berichtet. Der Wiener Bildhauer, der seine künstlerische Ausbildung in der Bossierabteilung der Wiener Porzellanmanufaktur erhielt, lebte von 1812 bis 1823 in der Ewigen Stadt; der Aufenthalt wurde ihm mittels ...

Art Historical Context

### Der Jugendliche Amor Johann Nepomuk Schaller's *Der Jugendliche Amor* (1815–1816), carved from prized Carrara marble, marks the Viennese sculptor's first major work created during his transformative stay in Rome from 1812 to 1823. Funded by a stipend, Schaller trained initially at Vienna's Porcelain Manufactory before immersing himself in the Eternal City. There, the boyish figure of Amor—standing 130 cm tall—embodies neoclassical ideals, with the artist praising marble in a 1815 letter as "the most beautiful and noble" material that brought him the greatest pleasure despite its challenges. Mentored by the revered Antonio Canova, Schaller accessed his mentor's library rich in classical literature and prints, compensating for Napoleon's removal of ancient masterpieces to Paris. Influences from Danish sculptor Bertel Thorvaldsen shine through, particularly his *Amor Triumphans* (1814), evident in detailed execution and narrative charm. Yet Schaller's personal touch emerges in the figure's subtle axial twist, adding spatial depth and multi-angle appeal, echoing his earlier lead-cast *Philoctetes* in Vienna. A gilded bronze bow in Amor's hand nods to Canova's fascination with ancient polychromy, as seen in his *Hebe*, blending materials in a forward-looking way unusual for the era. This statue from Vienna's Belvedere Collection highlights Rome's role as a neoclassical hub, bridging Vienna's craftsmanship with Italian and Danish classicism, while foreshadowing 19th-century sculptural innovations.