"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"
"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"
"Venus de' Medici The Venus de' Medici or Medici Venus is a Hellenistic marble sculpture depicting the Greek goddess of love Aphrodite. It is a 1st-century BCE marble copy, perhaps made in Athens, of a bronze original Greek sculpture, following the type of the Aphrodite of Knidos, which would have been made by a sculptor in the immediate Praxitelean tradition, perhaps at the end of the century. It has become one of the navigation points by which the progress of the Western classical tradition is traced, the references to it outline the changes of taste and the process of classical"
"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"
"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"
"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"
"Kallipygos. Other sources mention the cult of Aphrodite Kallipygos at Syracuse. The Christian writer Clement of Alexandria includes it in a list of erotic manifestations of pagan religion. From the 16th century, Athenaeus's tale circulated in Vincenzo Cartari's retelling of stories from classical mythology, ""Le Imagini"". Many viewers of the 17th and 18th centuries identified the statue's subject as the goddess, and supposed the work to be a cult statue from the temple of Venus Kallipygos. It was thus often described at the time as Venus exiting the bath. Others identified it instead with one of the ""beautiful-buttocked"" girls from"
"Borghese Venus Borghese Venus, 2nd century CE Roman marble copy of the Aphrodite of Cnidus (Capitoline Venus subtype). Once in the Borghese collection, it now resides in the Louvre Museum thanks to its purchase by Napoleon. The accompanying Cupid and dolphin are both classical attributes of Venus but are probably the addition of the Roman copyist. Its accession number is MR 369 (Ma 335). Three other Venuses were acquired from the Borghese collection at the same time, though the last two are far more restored than this example - 'Aphrodite at the pillar', an 'Armed Venus' and a Venus Pudica."
"Borghese Venus Borghese Venus, 2nd century CE Roman marble copy of the Aphrodite of Cnidus (Capitoline Venus subtype). Once in the Borghese collection, it now resides in the Louvre Museum thanks to its purchase by Napoleon. The accompanying Cupid and dolphin are both classical attributes of Venus but are probably the addition of the Roman copyist. Its accession number is MR 369 (Ma 335). Three other Venuses were acquired from the Borghese collection at the same time, though the last two are far more restored than this example - 'Aphrodite at the pillar', an 'Armed Venus' and a Venus Pudica."
"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"
"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."
"have been ""tabernae"", but one of which exhibits striking features that encourage some experts to think it is an early Christian meeting place and baptismal pool. On the grounds of the monastery was discovered the ""Aphrodite of Menophantos"", a Greco-Roman marble Venus of the Capitoline Venus type. The sculpture soon came into the possession of the House of Chigi. The noted art historian Johann Joachim Winckelmann described this sculpture in his ""History of Ancient Art"" (published in 1764). It is now on display in the National Roman Museum. https://www.sgregorioalcelio.com/ San Gregorio Magno al Celio San Gregorio Magno al Celio, also"
"or meaning: they have been seen as religious figures, as erotic art or sex aids, grandmother goddesses or as self-depictions by female artists. The expression 'Venus' was first used in the mid-nineteenth century by the Marquis de Vibraye, who discovered an important ivory figurine and named it ""La Vénus impudique"" or ""Venus Impudica"" (""immodest Venus""), contrasting it to the ""Venus Pudica"", Hellenistic sculpture by Praxiteles showing Aphrodite covering her naked pubis with her right hand. The use of the name is metaphorical as there is no link between the figurines and the Roman goddess Venus, although they have been interpreted"
"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"
"to many religious festivals in ancient Rome, and was venerated under numerous cult titles. The Romans adapted the myths and iconography of her Greek counterpart, Aphrodite, in their art and literature. In the later classical tradition of the West, Venus was one of the most widely depicted deities of Greco-Roman mythology as the embodiment of love and sexuality. In ancient Rome, she embodied love, beauty, enticement, seduction, and persuasive female charm among the community of immortal gods; in Latin orthography, her name is indistinguishable from the noun ""venus"" (""sexual love"" and ""sexual desire""), from which it derives. Venus has been"
"Medici was even reproduced in Sèvres biscuit porcelain, which had the matte whiteness of marble. American sculptor Hiram Powers based his 1844 statue ""The Greek Slave"" on the Venus de' Medici. Is also possible to see a replica in white Carrara Marble of the Venus' hand carved by Niccolò Bazzanti of Pietro Bazzanti e Figlio Art Gallery of Florence at Museo Civico Revoltella, Trieste. Venus de' Medici The Venus de' Medici or Medici Venus is a Hellenistic marble sculpture depicting the Greek goddess of love Aphrodite. It is a 1st-century BCE marble copy, perhaps made in Athens, of a bronze"
"Venus Anadyomene Venus Anadyomene (from Greek, ""Venus Rising From the Sea"") is one of the iconic representations of Aphrodite, made famous in a much-admired painting by Apelles, now lost, but described in Pliny's ""Natural History"", with the anecdote that the great Apelles employed Campaspe, a mistress of Alexander the Great, for his model. According to Athenaeus, the idea of Aphrodite rising from the sea was inspired by the courtesan Phryne, who, during the time of the festivals of the Eleusinia and Poseidonia, often swam nude in the sea. A scallop shell, often found in Venus Anadyomenes, is a symbol of"
"Blanchet, member of the Académie des Inscriptions et Belles-Lettres, and Alexandre Philadelpheus, director of the Athens National Archaeological Museum, the statue dates back to the end of the 2nd century (the hairstyle reminiscent of the Empress Faustine the Younger) and it is thought that this neo-Attic Venus Anadyomene is a Roman copy of a Greek Aphrodite. Informed by Thiollier, the magazine ""L'illustration"" mentioned the statue in its issue of June 19, 1937. With sensationalism, he does not hesitate to evoke the name of the ancient sculptor Phidias. Relayed by many newspapers and magazines, this discovery has made a national impact."
"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"
"indicates it might have been part of a bust or of a full-size statue. The hair is held in place by a ribbon that circles the head twice and shapes it into a bun. The face is slightly asymmetrical. In his 1828 catalogue Alexandre Dumège identifies the fragment as representing Venus: In 1865, Ernest Roschach instead identifies it to a depiction of Diana: Venus of Martres The Venus of Martres is a sculpture fragment from an antique replica of the Aphrodite of Knidos. The replica was made around the first century of the common era. It is on display at"
"of this influential work of art. Variants of the ""Venus Pudica"" (suggesting an action to cover the breasts) are the Venus de' Medici and the Capitoline Venus. The ""Aphrodite of Knidos"" was commissioned as the cult statue for the Temple of Aphrodite at Knidos. It depicted the goddess Aphrodite as she prepared for the ritual bath that restored her purity, discarding her drapery with one hand, while modestly shielding herself with the other. The placement of her hands obscures her pubic area, while simultaneously drawing attention to her exposed upper body. The statue is famed for its beauty, and is"
"probably not have devised a complicated allegorical meaning himself; it has been suggested that the Renaissance humanist scholar Cardinal Pietro Bembo, or a similar figure, may have devised the allegorical scheme. Scholars have proposed several identifications of the figures, and analyses and interpretations which largely flow from these. The concept of ""Geminae Veneres"" or ""Twin Venuses"", a dual nature in Venus, was well developed in both classical thought and Renaissance Neoplatonism, with the earthly Aphrodite Pandemos, representing carnal love and beauty, and the heavenly Aphrodite Urania representing a higher and more spiritual love, using the classical terms for the figures."
"Gallery in London (2007), the Gagosian Gallery in Hong Kong, China (2014) and the Österreichische Galerie Belvedere in Vienna, Austria (2015). Referring to the ancient Roman marble statue Callipygian Venus, ""Metallic Venus"" (2010–2012) was made of high chromium stainless steel with transparent color coating and live flowering plants. At the center of each scene in the ""Antiquity"" paintings (2009–2013) is a famous ancient or classical sculpture, meticulously rendered in oil paint and scaled to the same size as the sculptures. The equally detailed backdrops include an Arcadian vision. In ""Ballerinas"" (2010–2014), Koons depicts figurines of dancers, derived from decorative porcelain,"
"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'"
"then and the recent restoration included removing the dirt deposits and addressing the ancient integrations and fractures repairs. This restoration was funded by Thomas J. and Judith A. Embrescia. With this type of project, the Friends of the Uffizi Gallery accepts donations from all sources (including non-members) interested in conserving a selected work of art. The 2014 project is a statue of Aphrodite (2nd Century AD). She is the Greek goddess of love, known as Venus to the Romans. This sculpture is a standing semi-nude female figure created using the ancient Roman fragments of the torso and head. The arms"
"Rome and housed in the of the Capitoline Museums—is a depiction of Cleopatra, based on the statue's , apparent royal diadem worn over the head, and the uraeus Egyptian cobra wrapped around the base. Detractors of this theory argue that the face in this statue is thinner than the face on and assert that it was unlikely she would be depicted as the naked goddess Venus (or the Greek Aphrodite). However, she was depicted in an Egyptian statue as the goddess Isis, while some of her coinage depicts her as Venus-Aphrodite. She also dressed as Aphrodite when meeting Antony at"
"beauty than the exemplar). It was ceded by Pope Clement XI to Peter I in Rome in 1718, after protracted diplomatic negotiations, and (on its arrival in Russia two years later) was the first classical sculpture to be seen in that country. 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"
"must have broken off when the statue fell after the imperial park in which it stood fell into neglect after antiquity. They have been frequently restored in paintings (see below), but never in reality. The statue's subject has variously been interpreted, as the Roman goddess Venus (possibly in the form Venus Anadyomene), as a nude mortal female bather, a female version of the ""diadumenos"" tying up the hair with a fillet (see below). The ""Esquiline Venus"" is generally thought to be a mid-1st-century AD Roman copy of a 1st-century BC Greek original from the school of Pasiteles. Its provenance has"
"candlelight. The sculpture's lustre was not only due to the fine quality of the marble but also to the waxed surface, which has been recently restored. Venus Victrix (Canova) Pauline Bonaparte as Venus Victrix (or Venus Victorious) is a semi-nude life-size reclining neo-Classical portrait sculpture by the Italian sculptor Antonio Canova. Reviving the ancient Roman artistic traditions of portrayals of mortal individuals in the guise of the gods, and of the beautiful female form reclining on a couch (as most often seen in reclining portrayals of Hermaphroditi), it was commissioned by Pauline Bonaparte's husband Camillo Borghese and executed in Rome"
"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"
"BC, Roman marble and bronze sculpture and applied art from the first century BC - fourth century AD, including copies of Classical and Hellenistic Greek sculptures. One of the highlights of the collection is the Tauride Venus, which, according to latest research, is an original Hellenistic Greek sculpture rather than a Roman copy as it was thought before. There are, however, only a few pieces of authentic Classical Greek sculpture and sepulchral monuments. On the ground floor in the western wing of the Winter Palace the collections of prehistoric artifacts and the culture and art of the Caucasus are located,"