An Analysis Of ' The Torso Of Aphrodite '

This statue seems to have been treated poorly and not with much care. It can be seen that it went through a lot causing such damage. However, because of its massive size, it was able to survive and still be in somewhat good condition. The body around the torso is relatively smooth and in tact with minor scratches. Her body itself was not as damaged but mostly around the edges of the statue were broken off. The texture seems to be of hard, rough limestone but it was smoothed out when being carved.

This work possesses feminine characteristics because of the round and smooth form. There are no sharp edges poking out. It’s in a silky and gentle shape. Even the material is marble, the overall sculpture looks light and balanced. This is a non-objective sculpture.

Woman from Willendorf and Alexandros of Antioch-on-the-Orontes, Aphrodite of Melos have many differences. Woman from Willendorf which was estimated to have been carved in 24,000 BCE. It was discovered in 1908 near Willendorf, by Josef Szombathy. This figure’s material is limestone, its height is 11cm, and it exhibits in Naturhistorisches Museum, Vienna. Many carvings’ purpose is speculation. Like many figurines, they don’t have feet and can’t stand on its own, but it might have been pegged into the ground. Her body have been emphasized fertile and childbearing, leading the researchers believe that Venus of Willendorf may have been used as a fertility goddess.

The title of this artwork is Winged Nike (Winged Victory). It is from Samothrace, c. 190 B.C. The statute, by an unknown sculptor, was discovered by a French diplomat, Charles Champoiseau. It is made out of marble and approximately 8 feet high. As of now, it is located in louvre, Paris. Her torso twists, leaning to her right as her shoulders incline slightly towards her left. Her wings are blown back behind her. Her dress flows over her thigh, chest, and stomach, while it gathers around her hips and between her legs. I like how it creates a contrast between her skin and the texture of her dress.

The specific date of the statue in figure 3 is uncertain, even though it could possibly be contemporary with or later than the images of imperial women as Venus Genetrix. If that is the case here, the figure 3 statuette could assimilate an element of imperial iconography, which may supply one potential clarification for the presence of a figurine of Venus Genetrix in the Fayoum. Aphrodite and Venus, are

The statue reflects the sculptural research of the late Hellenistic Period: classical in essence, with innovatory features such as the spiral composition, the positioning in space, and the fall of the drapery over the hips. Aphrodite, or also known as The Venus de Milo was discovered not too long ago in 1820 on the island of Melos, Milo in modern Greek, located in the south-western Cyclades. The Marquis de Rivière presented it to Louis XVIII, who donated it to the Louvre the following year and the statue won instant and lasting fame. “Essentially two blocks of marble, it is comprised of several parts which were sculpted separately, bust, legs, left arm and foot, then fixed with vertical pegs, a technique which was fairly common in the Greek world, especially in the Cyclades, where this work was produced around 100 BC (Louvre).” The goddess originally wore metal jewelry, a bracelet, a pair of earrings, and a headband, of which only the fixation holes remain and the marble may have been embellished with, obviously now faded, polychromy. Sadly, the arms were never found, leaving her in her iconic fashion, a figure with broken

The sculpture made of marble at the length of 7 ft (2.13m), is known as Married Couple (Larth Tetnies and Thanchvil Tarnai) Embracing dated during 350-300 BCE. The marble sculpture is actually a lid of a sarcophagus shaped like a bed displaying a man and a woman laying on their side beside each other. The artist smoothly carved part of the marble to purposely show a bed-like sheet on the man and woman and carved two pillows seen underneath the couple’s heads. The main focus point or subject of the sculpture is the couple as they are clearly shown in the center beside each other, looking into each other eyes, and their arms reaching to touch each other as if they were about to hug. The couple are shown to be wearing nothing but jewelry, the

The ideas espoused by Reinach seem to fall short in his failure to recognize parts of the body found such as the hand or the inscription found by the French buyer as belonging to the statue itself. In part, his argument is that the context that other scholars seem to attribute to the statue and its parts do not necessarily belong together if they are in the same location. These pieces being that of an inscripted piece as well as arms and legs. Reinach cites the idea of a “lime kiln” that would place all of these items together but not related to each other (Kousser 2005, 233). This was refuted with the idea coming from Furtwangler which puts the pieces found in the same context based on the physical analysis of the pieces that seem to indicate a possible relation. Furtwangler also takes the location of these pieces and suggest the ancient context of a gymnasium for this statue. Furtwangler and Maggidis are in the same perspective in that this was all one piece together and this seems to be the perspective that Kousser takes to argue that the Aphrodite figure fits into the context of the gymnasium based on certain

A piece of art history from the Hellenistic Greek period now sits on its ship like throne in the stairwell of the Louvre Museum in Paris. “Victory lands on a ship’s prow to crown a naval victory. Her wings still beat, and the wind sweeps her drapery. The statues’s placement of splashing water heightened the dramatic visual effect. (Kleiner)” The perfect description for the beauty and grace this statue holds. Most of the statues during the Hellenistic time period interacted with the environment and appeared as living, breathing, and almost entirely humanistic (Kleiner). From the origin of this piece of work to the creation of it, this piece of art was meant to last a life time. This paper will be analyzing and discussing the discovery and the details in the statue to help better understand the beauty that it has held and will forever hold.

Final Paper The pieces of art Venus Reclining on a Sea Monster with Cupid and a Putto and Mischief and Repose by John William Godward are both very interesting pieces. Though the two pieces of art are actually very comparable in some aspects, it is apparent that they are almost entirely two contrasting kinds of art. The piece of art Venus Reclining on a Sea Monster with Cupid and a Putto is a marble sculpture done by John Deare.

There was once an elegant maiden by the name of Adaline. She was strikingly beautiful with long, flowing hair and a face far lovelier than anyone else in all of ancient Greece. She was the cousin of Hercules, so, naturally, she was also strong and courageous. The girl lived in a small city, Fennio, with her parents, the king and queen. Wanting to find a husband, she continuously prayed to Aphrodite for help. After seeing the maiden in distress, Aphrodite became worried and decided to ask her son to shoot an arrow at a perfect man to be Adaline’s husband.

Texture is widely implied on this work. Artemisia used light, lines and color to show us the texture of the curtain, the women attires and even their skin. The artist used short wavy lines and short simple lines to create a heavy rich and soft texture in the hanging curtain. Highly saturated color was added to the curtain and with the candlelight reflection it seems like the fabric is some sort of shiny velvet. The use of light and color also contributed to the texture of the women skin, pale and very soft. Despite the dark nature of the overall painting, visual texture can be almost palpable even on Judith and Ara’s dresses. Artemisia employed contrast of light and dark values to differentiate from Judith’s rich gold shiny dress, similar to satin or even silk, and her servant who depicts a more cotton like fabric, not as luxurious as Judith’s. Even thought the brushstrokes cannot be been noticed on the picture, I can guess they were smooth and almost unnoticeable.

The Venus de Milo is one of the most famous Greek statues from the Hellenistic age. Created between 130 and 100 BC, it is believed to depict Aphrodite (or Venus to Romans), the Greek goddess of love and beauty. It stands at 6 feet 8 inches tall and is made entirely of marble, the most abundant sculpting material of the Aegean islands. The inscription on its original base credits "Alexandros, son of Menides, citizen of Antioch" as the statue's creator. It is currently on permanent display at the Louvre Museum in Paris. (Lethaby, 1919)

While marble is most well known for being used to create statues based upon mythological and historical peoples, it was also used as mortuary statues to show tribute to deceased loved ones. Those statues were usually portrayed in the person in a relaxed pose, this combined with the fact that the girl’s legs are seemingly translucent, might point to the fact that the painting represent the idea of classical beauty and ideals, such as knowledge (the book), modesty (the white dress), and being closer to nature (the sprig and trees in the background), dying and being replaced by the culture of excess and extravagance. The orange by her side could also be representative of the offering greek women would bring to stelai (stone or wooden slab erected as a monument, very often for funerary or commemorative purposes.), which the bench could be serving

It was dated back to Austria around the time period of 28,000 to 25,000 B.C.E. This early piece displayed a 4.25 inch woman, made out of limestone, whose body parts were exaggerated limestone to represent a possible goddess of fertility. Considering its medium being limestone, it was essentially simplistic to carve and shape. There appears to be no face on the woman but very inscribed grooves that almost resembles a knitted hat. The sculptor managed to precisely outline the woman’s large stomach, breasts, hips, legs and vaginal