The Aphrodite of Milos (Greek: "Αφροδίτη της Μήλου"), better known as Venus de Milo statues is one of the most representative of the Hellenistic period of Greek sculpture, and one of the most famous sculptures of ancient Greece. It was created sometime between the years 130 and 100 a. C., and is believed to represent Aphrodite (called Venus in Roman mythology) goddess of love and beauty. Sculpted in marble in a slightly higher than the natural size, the statue's missing arms, which have been lost. The author is anonymous. Another option, according to an inscription on its pedestal, is that it could be the work of Alexander of Antioch. It is now in the Louvre in Paris.
The statue was found partially buried in two pieces, the April 8, 1820 on the Aegean island of Melos, also called Milo, by a peasant named Yorgos Kendrotás. Near the statue was found a fragment of a forearm and hand with an apple (in Greek, literally means Μήλο apple) and these remains are considered part of his arms. The right arm is believed that holding the tunic, while the left held the apple in the Judgement of Paris, the Trojan apple that Paris had to offer the very Aphrodite in testimony of his decision in the mythical view of beauty to which it was submitted. The truth is that it is not clear if the arms could be lost after the discovery of modern sculpture: Yorgos left half of the Venus in the same place where I found not being able to dig, think that the whole had a weight of 900 kilos , and half took her to the barn, offering first sale of the statue to an Orthodox cleric. At that time he was fighting the last stage of the War of Independence of Greece from the Ottoman Empire and the Greek clergy contacted, to elude the Turkish authorities, with a French naval officer, Jules Dumont D'Urville, who immediately recognized its value and arranged supposedly a dark between purchase by the French ambassador in Constantinople, the Marquis de Riviere. This is the official version, although some historians suggest that the statue came from the island by force, losing both arms after hitting the rocks. The truth is that after some repair work, the statue was presented to King Louis XVIII in 1821. Finally, the King gave it to the Louvre Museum in Paris, where still shown today to the public admiration. The Venus de Milo left Greece on March 1, 1821, just twenty days before modern Greece declared its independence from the Ottoman Empire on 25 March that year. A few years earlier, in 1815, the Louvre Museum had to return to Italy, its original place, another famous sculpture, called Venus de Medici, brought to Paris by Napoleon Bonaparte and the restored French monarchy had returned to Italy.
The authorship is unclear, because with her other fragments were found with inscriptions mentioning two artists of Antioch called Agesander and Aleixandre, although it is unknown if they were the authors of the work or other pedestals later placed next to the statue . It has been attributed even Scopas, sculptor of the fourth century classic C., although it does not detect the characteristic pathos of the author.
Fame and restoration
The fame of the statue in the nineteenth century was not simply the result of its renowned beauty, but also largely due to greater propaganda effort by the French authorities. In 1815 France had lost the Medici Venus, regarded as one of the finest classical sculpture in history, which had been looted from Italy by Napoleon Bonaparte. After the fall of Napoleon, the Medici Venus had been returned to the Italians. Consciously promoted the French Venus of Milo as a greater treasure than the one they had recently lost. It was duly praised by artists and critics, who considered it as the paradigm of female beauty elegant. However, other scholars such as Pierre-Auguste Renoir called it a big policeman.
Features
It has a height of 204 cm and as mentioned before, an approximate weight of 900 kilos, is carved in marble from Paros, possibly towards the end of the second century BC. It is carved into pieces, not unusual at the time in imitation of the classical period sculptures crisoelefantinas. Appears topless, with profile and quiet classical expression in his face, however, the slight twist gives rise to a figure slightly serpentinata, a feature typically Hellenistic. The mantle, which falls covering the pubic area and legs, make a modest Venus as Aphrodite of Praxiteles Cnidia where you can be your first source of inspiration, as this iconographic enjoyed great success and was widely imitated, even centuries later. You can also draw on the Aphrodite of Capua of Lysippus, something which does not exclude the influence Praxitelean whenever certain currents of Hellenistic sculpture turned to classical models in an attempt to turn their eyes to the days of Greek splendor. This statue should not be confused with the group of prehistoric statuettes known as Venus figurines.
The statue was found partially buried in two pieces, the April 8, 1820 on the Aegean island of Melos, also called Milo, by a peasant named Yorgos Kendrotás. Near the statue was found a fragment of a forearm and hand with an apple (in Greek, literally means Μήλο apple) and these remains are considered part of his arms. The right arm is believed that holding the tunic, while the left held the apple in the Judgement of Paris, the Trojan apple that Paris had to offer the very Aphrodite in testimony of his decision in the mythical view of beauty to which it was submitted. The truth is that it is not clear if the arms could be lost after the discovery of modern sculpture: Yorgos left half of the Venus in the same place where I found not being able to dig, think that the whole had a weight of 900 kilos , and half took her to the barn, offering first sale of the statue to an Orthodox cleric. At that time he was fighting the last stage of the War of Independence of Greece from the Ottoman Empire and the Greek clergy contacted, to elude the Turkish authorities, with a French naval officer, Jules Dumont D'Urville, who immediately recognized its value and arranged supposedly a dark between purchase by the French ambassador in Constantinople, the Marquis de Riviere. This is the official version, although some historians suggest that the statue came from the island by force, losing both arms after hitting the rocks. The truth is that after some repair work, the statue was presented to King Louis XVIII in 1821. Finally, the King gave it to the Louvre Museum in Paris, where still shown today to the public admiration. The Venus de Milo left Greece on March 1, 1821, just twenty days before modern Greece declared its independence from the Ottoman Empire on 25 March that year. A few years earlier, in 1815, the Louvre Museum had to return to Italy, its original place, another famous sculpture, called Venus de Medici, brought to Paris by Napoleon Bonaparte and the restored French monarchy had returned to Italy.
The authorship is unclear, because with her other fragments were found with inscriptions mentioning two artists of Antioch called Agesander and Aleixandre, although it is unknown if they were the authors of the work or other pedestals later placed next to the statue . It has been attributed even Scopas, sculptor of the fourth century classic C., although it does not detect the characteristic pathos of the author.
Fame and restoration
The fame of the statue in the nineteenth century was not simply the result of its renowned beauty, but also largely due to greater propaganda effort by the French authorities. In 1815 France had lost the Medici Venus, regarded as one of the finest classical sculpture in history, which had been looted from Italy by Napoleon Bonaparte. After the fall of Napoleon, the Medici Venus had been returned to the Italians. Consciously promoted the French Venus of Milo as a greater treasure than the one they had recently lost. It was duly praised by artists and critics, who considered it as the paradigm of female beauty elegant. However, other scholars such as Pierre-Auguste Renoir called it a big policeman.
Features
It has a height of 204 cm and as mentioned before, an approximate weight of 900 kilos, is carved in marble from Paros, possibly towards the end of the second century BC. It is carved into pieces, not unusual at the time in imitation of the classical period sculptures crisoelefantinas. Appears topless, with profile and quiet classical expression in his face, however, the slight twist gives rise to a figure slightly serpentinata, a feature typically Hellenistic. The mantle, which falls covering the pubic area and legs, make a modest Venus as Aphrodite of Praxiteles Cnidia where you can be your first source of inspiration, as this iconographic enjoyed great success and was widely imitated, even centuries later. You can also draw on the Aphrodite of Capua of Lysippus, something which does not exclude the influence Praxitelean whenever certain currents of Hellenistic sculpture turned to classical models in an attempt to turn their eyes to the days of Greek splendor. This statue should not be confused with the group of prehistoric statuettes known as Venus figurines.
No hay comentarios:
Publicar un comentario