Not to be confused with the group of prehistoric statuettes known as Venus figurines.

For the Teenage Mutant Ninja Turtles character, see Venus (Teenage Mutant Ninja Turtles).

Venus de Milo

Artist

Alexandros of Antioch

Year

Between 130 and 100 BC

Type

Marble

Location

Louvre Museum, Milos

Aphrodite of Milos (Greek: , Aphrodit ts Mlou), better known as the Venus de Milo, is an ancient Greek statue and one of the most famous works of ancient Greek sculpture. Created at some time between 130 and 100 BC, it is believed to depict Aphrodite(Venus to the Romans) the Greek goddess of love and beauty. It is a marble sculpture, slightly larger than life size at 203 cm (6 ft 8 in) high. Its arms and original plinth have been lost. From an inscription that was on its plinth, it is thought to be the work of Alexandros of Antioch; it was earlier mistakenly attributed to the master sculptor Praxiteles. It is currently on permanent display at the Louvre Museum in Paris.

Description
Although the Aphrodite of Milos is widely renowned for the mystery of her missing arms[1] enough evidence remains to prove that the right arm of the goddess was lowered across the torso with the right hand resting on the raised left knee so the sliding drapery wrapped around the hips and legs could be held in place.[citation needed] There is a filled hole below the right breast that originally contained a metal tenon that would have supported the separately carved right arm. The left arm was held at just below the eye level of the statue above a herm while holding an apple. The right side of the statue is more carefully worked and finished than the left side or back, indicating that the statue was intended to be seen mainly as a profile from its right. The left hand would have held the apple up into the air further back inside the niche the statue was set in. When the left hand was still attached, it would have been clear to an observer that the goddess was looking at the apple she held up in her left hand. The statue would have been tinted as was the custom of the era, adorned with jewellery and positioned in a niche inside a gymnasium. The painting of the statue along with the bedecking in jewellery were intended to make it appear more lifelike. Today, all traces of any paint have disappeared and the only signs of the armbands, necklace, earrings and crown are the attachment holes. The twisting stance and strong projection of the knee, as well as the rich, three-dimensional quality of the drapery, are typical of Hellenistic art of the third century BC and later. Moreover, the sensuous juxtaposition of flesh with the texture of drapery, which seems about to slip off the figure, adds an insistent note of erotic tension that is thoroughly Hellenistic in concept and intent. [edit]Discovery

and history

The Aphrodite of Milos was discovered by a peasant named Yorgos Kentrotas on April 8, 1820, inside a buried niche within the ancient city ruins of Milos, the current village of Tripiti, on the Aegean island of Milos (also Melos, or Milo).[2] The statue was found in two main pieces (the upper torso and the lower draped legs) along with several herms (pillars topped with heads), fragments of the upper left arm and left hand holding an apple, and an inscribed plinth. Olivier Voutier, a French naval officer, was exploring the island. With the help of the young farmer, Voutier began to dig around what were clearly ancient ruins. Within a few hours Voutier had uncovered Venus de Milo. About ten days later, another French naval officer, Jules Dumont d'Urville, recognized its significance and arranged for a purchase by the French ambassador to Turkey, Charles-Franois de Riffardeau, marquis, later duc de Rivire. Twelve days out of Touloun the ship was anchored off the island of Melos. Ashore, d'Urville and [fellow officer] Matterer met a Greek farmer Moraitis, who a few days earlier while ploughing his fields had uncovered blocks of marble and a statue in two pieces, which he offered cheaply to the two young men. It was of a naked woman with an apple in her raised left hand, the right hand holding a draped sash falling from hips to feet, both hands damaged and separated from the body. Even with a broken nose, the face was beautiful. D'Urville the classicist recognized the Venus of the Judgement of Paris. It was, of course, the Venus de Milo. He was eager to acquire it, but his practical captain, apparently uninterested in antiquities, said there was nowhere to store it on the ship, so the transaction lapsed. The tenacious

d'Urville on arrival at Constantinople showed the sketches he had made to the French ambassador, the Marquis de Rivire, who sent his secretary in a French Navy vessel to buy it for France. Before he could take delivery, French sailors had to fight Greek brigands for possession. In the mle the statue was roughly dragged across rocks to the ship, breaking off both arms, and the sailors refused to go back to search for them.[3] This story however proved to be a fabrication - Voutier's drawings of the statue when it was first discovered show that its arms were already missing (Curtis, 2003).

Drawing by Jean-Baptiste-Joseph Debay of the statue with the missing inscribed plinth published in 1821

News of the discovery took longer than normal to get to the French ambassador. The peasant grew tired of waiting for payment and was pressured into selling it to Nicholas Mourousi, Grand Dragoman of the Fleet, working as a translator for Sultan Mahmud II in Constantinople (present day Istanbul, Turkey). The French ambassador's representative, Vicomte de Marcellus, arrived just as the statue was being loaded aboard a ship bound for Constantinople and seized the statue and persuaded the island's chief citizens to annul the sale. Upon learning of the reversal of the sale, Nicholas Mourousi presumably had the chiefs whipped and fined. In 1821, Mourousi was executed by order of Sultan Mahmud II in front of the arsenal in Constantinople. This was amidst massive executions of Phanariote Greeks and the beginning of the Greek War of Independence.[4] Upon arrival at the Louvre, the statue was reassembled, but the fragments of the left hand and arm were initially dismissed as being a later restoration because of the rougher workmanship.[citation needed] It is now accepted that the left hand holding the apple and the left arm are in fact original to the statue but were not as well finished as the rest of the statue since they would have been somewhat above eye level and

difficult to see.[citation needed] This was a standard practice for many sculptors of the eraless visible parts of statues were often not as well finished since they would typically be invisible to the casual observer.[citation needed] Sculptures and statues from this era were normally carved out of several blocks of stone and carefully pieced together.[citation needed] The Venus de Milo turns out to have been carved from at least six to seven blocks of Parian marble: one block for the nude torso, another block for the draped legs, another block apiece for each arm, another small block for the left foot, another block for the inscribed plinth and finally the separately carved herm that stood beside the goddess.

front view

three-quarter view

back view

The controversial plinth was initially found to fit perfectly as part of the statue, but after it was translated and dated, the embarrassed experts who had publicized the statue as a possible original work by the artist Praxiteles dismissed it as another later addition to the statue. The inscription read:"...(Alex)andros son of Menides, citizen of Antioch on the Maeander made this (statue)...". The inscribed plinth would have moved the dating of the statue from the Classical period to the Hellenistic period because of the style of lettering and the mention of the ancient city of Antioch on the Maeander, which did not exist in the early fourth century BC, when Praxiteles lived. The Hellenistic Age was at that time considered a period of decline for Greek art. The plinth mysteriously disappeared shortly before the statue was presented to King Louis XVIII in 1821 and only survives in two drawings and an early description. The king eventually presented the statue to the Louvre museum in Paris. In 1920, sculptor Robert Ingersoll Aitken created a stir when he criticized the display, lighting and placement of the statue of Venus de Milo.[5] In the autumn of 1939, the Venus was packed for removal from the Louvre in anticipation of the outbreak of war. Scenery trucks from the Comdie-Franaise transported the masterpieces of the Louvre to safer locations in the countryside.[6] During the years of World War II, the statue sheltered in safety in the Chteau de Valenay along with the Winged Victory of Samothrace and Michelangelo'sSlaves.[7]

Fame
The Aphrodite of Milos's great fame in the 19th century was not simply the result of its admitted beauty, but also owed much to a major propaganda effort by the French authorities. In 1815, France had returned the Medici Venus to the Italians after it had been looted from Italy by Napoleon Bonaparte. The Medici Venus, regarded as one of the finest Classical sculptures in existence, caused the French to consciously promote the Venus de Milo as a greater treasure than that which they had recently lost. It was duly

praised by artists and critics as the epitome of graceful female beauty; however, Pierre-Auguste Renoir was among its detractors, labeling it a "big gendarme".

The sculptor is unknown and the date of her carving is only surmised but she is one of the most famous ladies in the world. Her graceful body symbolizes an ideal of beauty that many long for but none attain. The French named her Venus de Milo. In 1820 a peasant named Yorgos found her broken body in an underground cavern on the Agean island of Melos. He knew that such treasures of antiquity were to be turned over to the Turkish authorities but for a time he hid her lovely beauty in his barn. The secret was disclosed and the officials took her from him and loaded her onto a Turkish vessel. Somehow she was transferred to a French frigate off the coast of Melos; the Turkish official was publicly whipped, the French said it was a legitimate purchase, and she who was destined to become famous sailed away to France. After the statue had been presented to King Louis XVIII, his art advisors sought the assistance of French sculptors in supplying the missing arms. They devised arms which held apples, garments, lamps, and arms that held nothing at all but pointed in various directions. Finally the king decreed that her marvelous beauty should not be marred by any other sculptor. It was a momentous decree which from that time on resulted in ancient statues being left practically as they had been found.
description: Figure of Aphrodite semi-draped. Both arms missing below the shoulder. Original had metal earrings. Plaster replica; original in two blocks of Parian marble which meet just above the drapery. Height 215 cm, width 59 cm, depth 60 cm.
Aphrodite of Melos (Venus de Milo) ca. 150 B.C.

Aphrodite, according to the Greek poet Hesiod, was born from sea-foam gathered around the dismembered genitals of Ouranos, the god of the heavens, who was castrated by his son Kronos. The goddess arose from the sea and came ashore on the island of Cyprus (or Kythera). As she walked along the beach, flowers sprang forth in her footsteps. Awestruck by her beauty, the gods were consumed by love and adoration for the goddess, and at once received her into Mt. Olympus. She awoke within them a passion and desire never felt before. Her ability to excite this feeling gave her the power to rule over the hearts of gods and men alike, and she thus became the goddess of love, beauty, and sexuality. In the late Hellenistic Period, the demand for Greek art in the growing Roman Republic was tremendous. Fascinated and awed by the Greek past, Romans eagerly collected Classical sculpture or copies and variants of it. To satisfy the growing market, Greek sculptors often produced works that incorporated Classical traits into more recent styles. Artists offered a variety of subjects, including the new and popular theme of eroticism and female beauty. Images of the goddess Aphrodite abounded.

In 1820, French archaeologists unearthed theAphrodite on the island of Melos in the southern Aegean. The goddess stands with her drapery loosely clinging to her hips, her body somewhat twisted as she gazes off into the distance. Her garment, with deep folds, threatens to fall; her knee juts out and throws the body askew. The now-missing arms undoubtedly balanced the composition. They probably held a shield supported on the goddesses knee, which would explain its protruding position. The shield would have been that of the war god Ares, Aphrodites most famous lover. In this context, she uses the shield as a mirror. Representing the union of love and war, the adulterous relationship of Aphrodite and Ares was probably a humorous paradox to ancient Greek viewers. Using an implement of war as a beauty aid added further humor to the story. The Aphrodite represents a mixture of Classical and Hellenistic traits, which create a unique and alluring visual experience befitting the goddess of beauty and grace. The bodys twisting pose and jagged, deeply carved drapery is indicative of Hellenistic styles, but the soft, flowing musculature is similar to the Praxitelean S-curve associated with Late Classical art. The proportions of the body are also Classical, and the face is sculpted with the restrained and idealized Classical demeanor. This amalgam of styles was much sought after by Roman patrons of art. Today, the original stands in the Louvre Museum of Paris, where it continues to attract much attention.