The Medici Venus is the common name applied to the Aphrodite statue that has been essentially copied from the Praxiteles form. The Aphrodite housed by the Metropolitan Museum of Art in New York is a famous example of the form: armless (because they have broken off, not because the statue was designed that way), Aphrodite is depicted as emerging from the sea which is symbolized by the small dolphin at her feet (the sea creature also doubles as a support for the standing Aphrodite). The marble statue of Aphrodite in the Met hails from the Imperial Roman period and was likely chiseled in the 1st or 2nd century AD. Standing at a height of 62 ½ inches (including the plinth upon which the Aphrodite is situated), the statue is a life-size replica of the Greek statue by Praxiteles, who was the first artist of antiquity to depict the goddess in the nude form (The Met). Because of its iconic imagery and recognizable features throughout the world, the marble statue of Aphrodite was selected for this analysis so as to provide an opportunity to examine this well-known piece more closely. The marble statue of Aphrodite is of a light color: its material is of white stone all the way around, from head to toe, the entire composition being of one piece. The body of the Aphrodite is erect, with the right leg slightly bent on the knee, giving the Aphrodite its sensuous appeal in much the same way a model of today might bend the knee...
As the goddess of love, it is highly appropriate that the statue of Venus should be show the goddess exhibiting this sort of profile.Works Cited
The Met. “Marble statue of Aphrodite.” https://www.metmuseum.org/art/collection/search/254697
Von Bothmer, Dietrich. “Greek Marble Sculptures.” Bulletin of the Metropolitan Museum of Art, 16.6 (1958): pp. 187, 192.
Venus in Art Introduction to Venus and Aphrodite: Throughout history, Venus has long been a source of inspiration for artists. Her representation of love and beauty has been captured in various mediums, from the visual arts of paintings and sculpture to music and drama; Venus has served as a universal symbol of beauty and has embodied the secrets of love. Central to understanding how artists have been able to use her as
Birth of Venus" and "Venus Anadyomene" Sandro Botticelli's 1486 painting "The Birth of Venus" and Titian's 1520 painting "Venus Anadyomene" are two of history's most remarkable works depicting the Roman goddess. While the former is meant to address Venus' birth directly, the latter only hints at the event, as it is difficult to determine whether or not Titian actually wanted to portray the goddess' birth or if he simply wanted
Some have speculated that the work may have been commissioned by one of those families, and that the work was stored in a private residence, as opposed to being on display (the Birth, No date). In its historical context, Birth of Venus is important because it gives us a glimpse into the Italian psychology at the time. The painting shows that even as the church tried to exert total influence
In his attempt to paint the goddess, the Renaissance painter inspired from the mythological legend of Venus's birth. The Roman Goddess of love apparently emerged out of the sea as a result of a foam formed around Uranus's genitals that had just been cut by his son, Cronus. Cronus apparently did so in order to get revenge, since his father treated him very cruelly (Deimling 52). Botticelli focused on emphasizing
Here Mars is asleep and unarmed, while Venus is awake and alert. The meaning of the picture is that love conquers war, or love conquers all." (Cole, xx) the purpose of the work during the renaissance was mostly likely for a prominent individual's bedroom furniture or a piece of wainscoting. Some art connoisseurs have considered that the detailed wasps at upper right may have been a link to the popular
This may also be an indication of the struggle within the artist. (Botticelli, Sandro: The Mystical Nativity) The works of Botticelli were to become less fashionable and popular with the development of the Renaissance. He was to die virtually unknown in the art world. However in the 19th century Ruskin and the Pre-Raphaelites once again recognized his genius and his paintings again assumed a prominent position in the history of
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