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Statue
The marble statue of Aphrodite, goddess of love, is an impressive example of Roman sculpture from the Imperial era. Although it is Roman, the Greek name of the goddess has been preserved because the artist was directly influenced by the Greek sculptural tradition. However, it is definitively Roman in its appearance based on stylistic similarities with other sculptures contemporary with it. For example, the ornate hair and headdress signify Roman imperial aesthetics. Parts of the sculpture have been damaged; Aphrodite's nose and arms are missing. This almost adds, rather than detracts from, her mysterious beauty. Aphrodite stands in a relaxed pose. She is not so much a goddess as she is a human exemplar of gentle, confident, composed strength. Her sexuality is matter-of-fact. If one word could be used to describe the statue of Aphrodite, it could indeed be the word feminist.
The statue is feminist in the sense that the goddess stands...
She is not rendered in relation to any man. Ironically, Roman and Greek women did not enjoy the highest social status. Aphrodite is set forth as an ideal to strive toward. Her head is turned to her left, away from the viewer. However, this is a three-dimensional sculpture in the round. This means that the viewer is welcome to look at and contemplate Aphrodite from all angles, circumambulating around her body. Aphrodite is completely nude. Nothing covers her, not even a piece of drapery. She has been bathing, evidenced by the urn at her feet. Showing the goddess in a mundane position such as bathing invites the viewer to contemplate love as being available to all people. Love is not in the province of the gods alone.
Aphrodite appears as if she could already have borne children; her breasts are large and her hips wide. However, this is a feminist statue because the woman is not defined by her role as wife and mother. She does not appear…
The first is the famous "Bartlett Head," named for Francis Bartlett, who provided the funds for its acquisition by the MFA in 1900. Celebrated in rapturous prose by Henry James within a few years of its first appearance in Boston, it was carved from luminous marble shortly after Praxiteles's Knidos Aphrodite, and remains to this day one of the most admired examples of classical Greek sculpture. The life-size head
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
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
Greek Project 1272 ART204 Formal Research Project Summer Term 2012 Ancient Greek sculpture is one of the most famous historical forms of art. Three main forms of life are represented by this sculpture; war, mythology, and rulers of the land of ancient Greece. The main aim of the paper is to revisit the history of the art of sculpturing in ancient Greece and different steps of its development within different time periods.
art from three different cultures. Specifically it will discuss pieces from the Classical Greek, Indian Civilizations, and Egyptian Civilizations, including the meaning of the work and an art analysis of the work. Each of these different cultures produced very different works of art that were meant to entertain, enlighten, and be viewed for enjoyment. They used different techniques, but there were commonalities, as well. They represent some of the
Greek Sculpture A Timeline of Greek Sculpture Polykleitos, Doryphoros (early fourth century BC) As Paul Johnson (2003) records, this ancient example of Greek classicalism "epitomizes a canon of male beauty embodied in mathematical proportions" (p. 63). Showing the perfection of contraposto, Doryphoros (or the spear-carrier) is a balanced representation of the body's muscles. Polykleitos, a contemporary of Phidias, had his own school of young artists, which carried on into the third century BC.