"Venus de Milo The Aphrodite of Milos (, ""Aphroditi tis Milou""), better but mistakenly known as the Venus de Milo, is an ancient Greek statue and one of the most famous works of ancient Greek sculpture. Initially it was attributed to the sculptor Praxiteles, however from an inscription that was on its plinth, the statue is thought to be the work of Alexandros of Antioch. Created sometime between 130 and 100 BC, the statue is believed to depict Aphrodite, the Greek goddess of love and beauty; however, some scholars claim it is the sea-goddess Amphitrite, venerated on Milos. It is"
"Head of Arles The Head of Arles (French: ""Tête d'Arles""), formerly known also as the Head of Livia (""Tête de Livie"") or the Head with the broken nose (""Tête au nez cassé"") is a fragment of a Roman marble statue in two parts, of which only the bust remains, which probably depicts Venus (Aphrodite) and was discovered in the ruins of the Ancient Theatre of Arles in 1823 during the removal of accreted material from the theatre. The Head of Arles represents an iconographic type called ""Aspremont-Lynden/Arles"". It is now part of the permanent exhibition of the Musée de l'Arles"
"and Roman connoisseurs. Among replicas and fragments of less importance, the closest in character and finest in quality is a marble Aphrodite at the Metropolitan Museum of Art, described below. Such sculptures are described as ""Roman copies"", with the understanding that these were produced, often by Greek sculptors, anywhere under Roman hegemony ""say, between the dictatorship of Sulla and the removal of the Capital to Constantinople, 81 BCE to CE 330"" Their quality may vary from work produced by a fine sculptor for a discerning patron, to commonplace copies mass-produced for gardens. The origin of the Venus is undocumented: ""its"
"Vénus impudique Vénus impudique (also known as Venus Impudica and Vénus de Vibraye) is the first Paleolithic sculptural representation of a woman discovered in modern times. It was found by Paul Hurault, 8th Marquis de Vibraye in about 1864 by at the famous archaeological site of Laugerie-Basse in the Vézère valley (one of the many important Stone Age sites in and around the commune of Les Eyzies-de-Tayac-Sireuil in Dordogne, southwestern France). The Magdalenian ""Venus"" from Laugerie-Basse is headless, footless, armless but with a strongly incised vaginal opening. De Vibraye named it ""La Vénus impudique"" or ""Venus Impudica"" (""immodest Venus""), contrasting"
"Venus of Petřkovice The Venus of Petřkovice ( or ""Landecká venuše"") is a pre-historic Venus figurine, a mineral statuette of a nude female figure, dated to about 23,000 BCE (Gravettian industry) in what is today the Czech Republic. It was found within the current city limits of Ostrava (Ostrava-Petřkovice), Silesia, in the Czech Republic, by archaeologist Bohuslav Klíma on 14 July 1953. It was beneath a mammoth molar at an ancient settlement of mammoth hunters. Many stone artifacts and skeletal fragments were also found nearby. The statue measures 4.5 x 1.5 x 1.4 cm and is a headless torso of"
"Venus de Brizet The Venus de Brizet is a marble sculpture of Venus (Aphrodite to the Greeks) and was discovered in a field in Saint-Just-sur-Loire (in Loire, France) in 1937. Originally thought to be an ancient Roman work, it was classified as a historical monument (monument historique) in 1938, before it was revealed that it was actually sculpted in 1936 and buried the same year by an artist who imagined the hoax for advertising purposes. The statue was discovered in April 28, 1937 in the hogback of Brizet, the mound that is located in the east of the village Etrat."
"it to the ""Venus Pudica"", Hellenistic sculpture by Praxiteles showing Aphrodite covering her naked pubis with her right hand. It is from this name that we get the term ""Venus figurines"" commonly used for Stone Age sculptures of this kind. Vénus impudique Vénus impudique (also known as Venus Impudica and Vénus de Vibraye) is the first Paleolithic sculptural representation of a woman discovered in modern times. It was found by Paul Hurault, 8th Marquis de Vibraye in about 1864 by at the famous archaeological site of Laugerie-Basse in the Vézère valley (one of the many important Stone Age sites in"
"Venus of Arles The Venus of Arles is a sculpture of Venus at the Musée du Louvre. It is in Hymettus marble and dates to the end of the 1st century BC. It may be a copy of the Aphrodite of Thespiae by Praxiteles, ordered by the courtesan Phryne. In the 2nd century AD, Pausanias mentioned the existence at Thespiae in Boeotia (central Greece) of a group made up of Cupid, Phryne and Aphrodite. The Praxitelean style may be detected in the head's resemblance to that of the Cnidian Aphrodite, a work of Praxiteles known through copies. In a tentative"
"the goddess as seen on the Cnidian Aphrodite. Venus of Arles The Venus of Arles is a sculpture of Venus at the Musée du Louvre. It is in Hymettus marble and dates to the end of the 1st century BC. It may be a copy of the Aphrodite of Thespiae by Praxiteles, ordered by the courtesan Phryne. In the 2nd century AD, Pausanias mentioned the existence at Thespiae in Boeotia (central Greece) of a group made up of Cupid, Phryne and Aphrodite. The Praxitelean style may be detected in the head's resemblance to that of the Cnidian Aphrodite, a work"
"Aphrodite of Menophantos The Aphrodite of Menophantos is a Roman marble statue of the goddess Venus. Its design takes the form of ""Venus Pudica"", based on another statue, the Capitoline Venus. It was found at the Camaldolese monastery of San Gregorio al Celio in Rome, and is now in the Palazzo Massimo alle Terme, Rome. It bears the signature of Menophantos, (""ἀπὸ τῆc / ἐν Τρῳάδι / Ἀφροδίτηc / Μηνόφαντοc / ἐποίε"") a Greek sculptor, apparently of the 1st century BCE, of whom nothing more is known. The Venus Pudica is a classic pose in Western art. In the Aphrodite"
"Esquiline Venus The Esquiline Venus, depicting the goddess Venus (i.e. Greek Aphrodite), is a smaller-than-life-size Roman nude marble sculpture of a female in a sandal and diadem headdress. It is widely viewed as a 1st-century AD Roman copy of a Greek original from the 1st century BC. It is also a possible depiction of the Ptolemaic ruler Cleopatra VII. The sculpture is thought to have been based on an original Hellenistic statue from the Ptolemaic Kingdom. It possibly depicts Venus-Isis, a conflation of Venus with the goddess Isis. The copy was likely commissioned by emperor Claudius to decorate the Horti"
"in 1803. After Napoleon's fall it arrived back in Florence on 27 December 1815. The marble ""Aphrodite"" at the Metropolitan Museum of Art, New York, is a close replica of the Venus de' Medici. The pose of the head is not in doubt, for it did not break off when other breaks occurred, in which the arms were irrevocably lost. On the plinth is the left foot, with part of the dolphin-and-tree-trunk support, and a trace of the missing right foot, restored by a cast, for the sculpture was in two sections, which were joined by casts taken of the"
"and an olive press. A reservoir here was mentioned in the Copper Scroll, one of the Dead Sea Scrolls. During excavations in Church of Saint John the Baptist in Ein Karem, a marble statue of Aphrodite (or Venus) was found, broken in two. It is believed to date from the Roman era and was probably toppled in Byzantine times. Today, the statue is at the Rockefeller Museum. Ceramics from the Byzantine era have also been found here. In around 530 CE., the Christian pilgrim Theodosius said that the distance is five miles from Jerusalem to the place where Elizabeth lived,"
"the artifacts found at Arsinoe is available at the Princeton Art Museum. (http://artmuseum.princeton.edu/exhibitions/upcoming) The ancient city of Amathus, near modern-day Limassol (village of Ag. Tychonas) was a city of importance before Roman rule. After Nea Pafos was established as the center of Roman administration on Cyprus, Amathus began to decline. Only the granting of asylum for the sanctuary of Aphrodite by the senate in 22 AD preserved its existence. The city remained unexcavated until 1975, when Pierre Aupert and the French School at Athens discovered remains on the acropolis, including the temple to Ahprodite, a Christian basilica, palace storerooms, and"
"amongst classical upper-class women, with locks falling down onto her shoulders, and an original ankle bracelet on her left ankle). It was thought to be a 2nd-century AD Roman copy from a Greek original, but recent research suggests it is in fact a Greek original dating from the 3rd or 2nd century BC. It is by an unknown sculptor, who takes inspiration from the Aphrodite of Cnidus (particularly of the Capitoline Venus type) but does not follow it strictly (the Tauride Venus, though well-proportioned and fully nude as in the exemplar, is slighter in build and of a more refined"
"attempt to reconstruct his career, the original Aphrodite of Thespiae would be a work from his youth (in the 360s BC), if we choose to believe that this partially draped female (frequently repeated in the Hellenistic era – the Venus de Milo, for example – is a prelude to the fully naked nude that was his c. 350 BC Cnidian Aphrodite. The ""Venus of Arles"" was discovered in several pieces at the Roman theatre at Arles. The sculptural program at Arles was executed in Italy, perhaps by Greek artisans. Venus was the divine ancestor of the gens Julia; Arles, which"
"in Dordogne, southwestern France). The Magdalenian ""Venus"" from Laugerie-Basse is headless, footless, armless but with a strongly incised vaginal opening. Four years later, Salomon Reinach published an article about a group of steatite figurines from the caves of Balzi Rossi. The famous Venus of Willendorf was excavated in 1908 in a loess deposit in the Danube valley, Austria. Since then, hundreds of similar figurines have been discovered from the Pyrenees to the plains of Siberia. They are collectively described as ""Venus figurines"" in reference to the Roman goddess of beauty, Venus, since the prehistorians of the early 20th century assumed"
"although Augustus did not remove or destroy artworks in Alexandria depicting Cleopatra. In regards to surviving Roman statuary, was found near the , Rome, along the and is now housed in the , part of the Vatican Museums. Plutarch, in his ""Life of Antonius"", claimed that the public statues of Antony were torn down by Augustus, but those of Cleopatra were preserved following her death thanks to her friend Archibius paying the emperor 2,000 talents to dissuade him from destroying hers. Since the 1950s scholars have debated whether or not the ""Esquiline Venus""—discovered in 1874 on the Esquiline Hill in"
"Venus-Aphrodite, and reportedly dressed as Aphrodite when meeting Mark Antony at Tarsos in 42 BC. The sculpture inspired many artistic reconstructions in the decade after its discovery. Chief among these are Sir Lawrence Alma-Tadema's ""A Sculptor's Model"" (1877) and Edward Poynter's ""Diadumene"" (1884). These both portrayed the statue's model binding her hair with a strip of fabric (as with the statue type diadumenos) in preparation for modelling for the sculptor or for taking a bath respectively. Poynter believed this to be the correct reconstruction partly because the remains of the little finger of her left hand are visible on the"
"a marble sculpture, slightly larger than life size at high. Part of an arm and the original plinth were lost following its discovery. It is currently on permanent display at the Louvre Museum in Paris. The statue is named after the Greek island of Milos, where it was discovered. The Aphrodite of Milos is ""widely renowned"" for the mystery of her missing arms. There is a filled hole below her right breast that originally contained a ""metal tenon"" that would have supported the separately carved right arm. It is generally asserted that the Aphrodite of Milos was discovered on 8"
"in the city's museum. Some remains are visible in the Museo Campano in Capua and in the in Santa Maria Capua Vetere. More remains can be seen in the National Archaeological Museum in Naples, such as the Venus of Capua which was discovered in the general area of the amphitheatre. During the excavations of September 1726, a damaged inscription was found in front of the southern gate. It was restored by the archaeologist Alessio Simmaco Mazzocchi, as follows: The inscription, originally placed at the entrance to the amphitheatre, was put on display under the arch of the church of St"
"thereby contributing to its popularity. In the 17th and 18th centuries the statue was identified as Venus and associated with a temple to Aphrodite Kallipygos at Syracuse, discussed by Athenaeus in his ""Deipnosophists"". The statue was copied a number of times, including by Jean-Jacques Clérion and François Barois. The Venus Kallipygos as we have it is a Roman work in marble, dating to the late 1st century BC. It is considered to be a copy or ""paraphrase"" of an older Greek statue, probably bronze. This lost original is thought to have been created around 300 BC, near the inception of"
"Roman Emperor Marcus Aurelius. As the excavations continued with Caviglia, he came upon an array of Egyptian artifacts and inscriptions in Greek and Latin. In 1819, he had to suspend his research. Following the exploration during the excavations carried out in 1820 on behalf of the British in the ancient capital of Memphis, which is located about 20 km south of Cairo, he made a 'sensational' other discovery: the Colossus of Ramses II. This was a 'huge' statue of limestone which was found near the south gate of the Temple of Ptah, near the village of Mit Rahina. Despite being"
"Venus Tauride The Venus Tauride or Venus of Tauris is a 1.67 m high sculpture of Aphrodite. It is named after the Tauride (Tavrichesky) Palace in St Petersburg, where it was kept from the end of the eighteenth century until the mid-nineteenth. It is now in the Hermitage Museum. It shows the goddess rising from her bath (with a column on the right on the piece, to her left-hand side, with her towel or clothing draped over it). It lost both arms in antiquity and her nose has been restored, but is otherwise complete (including an elaborate ancient hairstyle popular"
"Venus figurines of Gagarino The Venus figurines of Gagarino are eight Palaeolithic Venus figurines made from ivory. The statuettes belong to the Gravettian industry and are about 21,000–20,000 years old. They were discovered near to the village of Gagarino in Lipetsk Oblast, Russia, and are now held in the Hermitage Museum in Saint Petersburg. The Figurine No. 1 (by Abramova 1962) is sculpted similar to the Venus of Willendorf: The depicted female body is naked and obese, which is not necessarily interpreted as pregant. The small arms are at the side with no hands. The face is not depicted, but"
"to the body. In addition to strengthening the sculpture by replacing old putty, recent cleaning of the surface revealed details from an early 12th Century restoration such as the figure’s left hand holding a medicinal plant well known since the Middle Ages. This restoration was funded by the Lisa Marie Conte Browne Family. This mid-2nd Century A.D. statue of Aphrodite & Eros is a replica of the original Capitoline Venus, apart from the addition of the small funerary Eros. The sculpture’s head, arms and right leg were integrated in 1584. The sculpture is likely to have never been restored since"
"in AD 70. Emperor Hadrian had built during the 130s a temple over the site of Jesus's tomb near Calvary, and renamed the city Aelia Capitolina. Accounts differ concerning whether the temple was dedicated to Venus or Jupiter. According to Eusebius, ""[t]here was a temple of Venus on the spot. This the queen (Helena) had destroyed."" According to tradition, Helena ordered the temple torn down and, according to the legend that arose at the end of the 4th century, chose a site to begin excavating, which led to the recovery of three different crosses. The legend is recounted in Ambrose,"
"Capitoline Venus The Capitoline Venus is a type of statue of Venus, specifically one of several ""Venus Pudica"" (modest Venus) types (others include the Venus de' Medici type), of which several examples exist. The type ultimately derives from the Aphrodite of Cnidus. The Capitoline Venus and her variants are recognisable from the position of the arms—standing after a bath, Venus begins to cover her breasts with her right hand, and her groin with her left hand. This original of this type (from which the following copies derive) is thought to be a lost 3rd- or 2nd-century BCE variation on Praxiteles'"
"an entirely nude woman was the ""Aphrodite of Cnidus"" created ca. 360–340 BCE by Praxiteles. The female nude became much more common in the later Hellenistic period. Rarely seen during the Middle Ages, the female nude reappeared in Italy in the 15th century. Subsequently, eroticism became more emphatic in paintings such as Giorgione's ""Sleeping Venus"" (ca. 1510), which situated the reclining nude in an idyllic landscape, and Titian's ""Danaë"" series (ca. 1553–1556). These works inspired countless reclining female nudes for centuries afterwards. The annual glut of paintings of idealized nude women in the 19th-century Paris Salon was satirized by Honoré"
"Aphrodite of Knidos The Aphrodite of Knidos (or Cnidus) was an Ancient Greek sculpture of the goddess Aphrodite created by Praxiteles of Athens around the 4th century BCE. It is one of the first life-sized representations of the nude female form in Greek history, displaying an alternative idea to male heroic nudity. Praxiteles' Aphrodite is shown nude, reaching for a bath towel while covering her pubis, which, in turn leaves her breasts exposed. Up until this point, Greek sculpture had been dominated by male nude figures. The original Greek sculpture is no longer in existence; however, many Roman copies survive"
"the Hellenistic era. The marble version's sculptor and provenance are unknown. It was rediscovered, missing its head, in Rome by at least the 16th century. It is sometimes said to have been found in the ruins of Emperor Nero's Domus Aurea, though this is unlikely, as fragments uncovered there contained no evidence of high-quality artworks such as the Venus. The missing head was reconstructed in the 16th century. The restorer decided to have the figure look over her shoulder at her own buttocks, a choice that gave the Venus its distinctive pose and had a significant effect on later interpretations"
"Aphrodite of Knidos established a canon for the proportions of the female nude, and inspired many copies to follow its lead, the best of which is considered to be the Colonna Knidia, which is in the Vatican's Pio-Clementine Museum. A Roman copy, it is not thought to match the polished beauty of the original, which was destroyed in a disastrous fire at Constantinople in AD 475. According to an account by Pliny the Elder, Praxiteles sculpted both a nude statue and a draped statue of Aphrodite. The city of Kos purchased the draped statue, because they felt the nude version"
"Colonna Venus The Colonna Venus is an ancient sculpture, a Roman marble copy of the lost Aphrodite of Cnidus by Praxiteles, conserved in the Museo Pio-Clementino as a part of the Vatican Museums' collections. It is now the best-known and perhaps most faithful Roman copy of Praxiteles' original. The Colonna Venus is one of four marble Venuses presented in 1783 to Pope Pius VI by Filippo Giuseppe Colonna; this, the best of them, was published in Ennio Quirino Visconti's catalogue of the Museo Pio-Clementino, where it was identified for the first time as a copy of the Cnidian Venus. Immediately"