The Three Graces by Antonio Canova

Thinking Through Martin Heidegger (1889-1976)’s “The Origin of the Work of Art”

Canova’s The Three Graces—figures of beauty, charm, and joy—stand together in flowing harmony. From Heidegger’s view, however, this is not simply the idealization of the feminine. It is a clearing of Being-as-relational-form, where individuality dissolves into a communal rhythmic presence.

The Graces are not static; they are gathered into a silent dance. Their arms entwine, their backs curve in dialogue. Heidegger would say that the sculpture does not represent harmony—it lets harmony be, not as a concept, but as embodied presence. This is not unity through symmetry, but dwelling together through difference that touches.

The earth is polished marble—softened into light, translucency, and radiance. Yet it resists. The sculpture is not ethereal—it is weighted grace, stone shaped into relational openness. The world it opens is one of affective balance, a world where Being is gentleness, given form.

Canova’s Graces do not demand awe. They offer space. Heidegger would say this is Being-as-gift, not as object, but as mutual visibility—an event of human togetherness transfigured into sculptural presence.