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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 Venus de' Medici's lower legs. For dating the replicas, attention is focused on the minor details of the dolphins that were added by the copyists, in which stylistic conventions come to the fore: the
Metropolitan dates its
398:, and a bronze by the Keller brothers. (Haskell and Penny, p. 325). Copies of the Venus de' Medici in lead stand in many English and European gardens, sometimes protected by small temples; in small bronze reductions it figured among the most familiar of the antiquities represented in collectors' cabinets: in
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The statue base bears the Greek inscription ΚΛΕΟΜΕΝΗΣ ΑΠΟΛΛΟΔΩΡΟΥ ΑΘΗΝΑΙΟΣ ΕΠΩΕΣΕΝ, literally "Kleomenes (son) of
Apollodoros of Athens made it." The inscription is not original, but in the 18th century the name "Cleomenes" was forged on sculptures of modest quality to enhance their value, while the
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is the name piece under which are recognized many replicas and fragments of this particular version of
Praxiteles' theme, which introduced the life size nude representation of Aphrodite. Though this particular variant is not identifiable in any extant literature, it must have been widely known to
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at the
Metropolitan Museum of Art 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
303:
to describing it. It was one of the precious works of art shipped to
Palermo in 1800 to escape the French, to no avail: such diplomatic pressure was brought to bear that the Vénus de Medicis was shipped to Paris in 1803. After Napoleon's fall it arrived back in Florence on 27 December 1815.
221:, Rome 1638. The Venus was already known by 1559, it now appears, for a bronze reduction of it was among the series of the most famous Roman sculptures that were featured on a cabinet completed in that year; it was commissioned by Niccolò Orsini,
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is shown with calipers and a notebook, regarding a bronze statuette of the Venus de' Medici, as if in the act of deducing the ideal proportions of the female figure from the sculpture's example. The Venus de' Medici was even reproduced in
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and was universally esteemed as one of the half-dozen finest antique statues to have survived, until a reaction in taste began to set in during the 19th century, in the form of a few dissenting voices (Haskell and Penny p. 325).
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The statue depicts the goddess in a fugitive, momentary pose, as if surprised in the act of emerging from the sea, to which the dolphin at her feet alludes. The dolphin would not have been a necessary support for the bronze original.
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Eleven of the sculptures from the lost cabinet, including the reduction of the Venus de' Medici, were reunited in the exhibition, "Willem van
Tetrode" Rijksmuseum and Frick Collection, New York, 2003 (
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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
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Greek and Roman connoisseurs. Among replicas and fragments of less importance, the closest in character and finest in quality is a marble
Aphrodite at the
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The twentieth-century recovery from shipwreck sites in the
Mediterranean of Classical and Hellenistic Greek bronzes, made possible by
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is traced, the references to it outline the changes of taste and the process of classical scholarship. It is housed in the
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because, it was thought, it stimulated lewd behavior. In the
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fingers that did not begin to be recognized as out of keeping with the sculpture until the 19th century.
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found it "a miracle of art", it was sent to
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The origin of the Venus is undocumented: "its reputation seems to have grown up gradually",
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was doubted in order to ascribe the work to one of various highly-thought-of names: besides
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is a 1.53 m (5 ft 0 in) tall Hellenistic marble sculpture depicting the
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This general theme is the subject of Francis Haskell and Nicholas Penny,
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Segmenta nobilia signorum et statuarum que temporis dentem invidium evase
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Taste and the Antique: The Lure of Classical Sculpture 1500–1900
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Taste and the Antique: The Lure of Classical Sculpture 1500–1900
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The Medici Venus is one of the most-copied antiquities.
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remarked. It was published in the collection at the
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18th-century marble copy of the Venus de' Medici at
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544:Christine Alexander. "A Statue of Aphrodite".
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503:. Oxford University Press, 2001. p. 117.
374:confronts the Venus de' Medici, ca. 1765.
546:The Metropolitan Museum of Art Bulletin
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233:'s atelier, Willem van Tetrode, called
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561:Noted in Haskell and Penny 1981:325.
444:Pietro Bazzanti e Figlio Art Gallery
1771:Archaeological discoveries in Italy
170:in New York City, described below.
27:Sculpture by Cleomenes the Athenian
1781:Classical sculptures in the Uffizi
1635:Crown of the Grand Duke of Tuscany
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382:had no less than five, marbles by
177:and the removal of the Capital to
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487:(Yale University Press) 1981.
438:of the Venus' hand carved by
262:Though visitors to Rome like
653:(Yale University Press) 1981
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519:Haskell and Penny p. 326.
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679:at Wikimedia Commons
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434:A replica in white
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1125:
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1109:
1108:Festina Lente
1103:
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948:
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932:
929:
927:(Clement VII)
926:
923:
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916:
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897:
895:
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869:
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848:
845:
843:
842:Ferdinando II
840:
838:
835:
833:
830:
828:
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823:
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819:
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815:
811:
805:
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797:
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788:
782:
779:
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774:
772:(Clement VII)
771:
768:
766:
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751:
748:
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627:
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584:
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572:Press release
567:
564:
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551:
547:
541:
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516:
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509:0-19-284237-4
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363:Modern copies
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331:
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317:
311:
305:
302:
301:
300:Childe Harold
296:
292:
291:
286:
282:
281:Samuel Rogers
278:
277:Luca Giordano
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1686:
1672:Medici lions
1649:Institutions
1489:Michelangelo
1447:Old Sacristy
1435:New Sacristy
1308:Villa Medici
1232:L'Ambrogiana
1217:Arena Metato
1107:
1067:Don Giovanni
975:
957:Giovan Carlo
947:Ferdinando I
914:
852:Gian Gastone
832:Ferdinando I
677:Medici Venus
657:
650:
632:
626:
617:
608:
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566:
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548:New Series,
545:
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423:Hiram Powers
417:
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344:
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309:
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288:
261:
254:(now in the
249:
246:John Zoffany
218:
211:Villa Medici
200:
172:
162:
160:
135:
132:
128:
88:Medici Venus
87:
83:
81:
29:
18:Medici Venus
1682:Medici Vase
1656:Medici Bank
1610:Jacopo Peri
1430:San Lorenzo
1421:Magi Chapel
1055:Condottieri
976:female line
894:Clement VII
827:Francesco I
497:Beard, Mary
347:Chamaré in
323:The marble
268:Innocent XI
264:John Evelyn
107:Praxitelean
1760:Categories
1733:Savonarola
1582:Scientists
1516:Michelozzo
1368:Fortresses
1212:Marignolle
1192:Camugliano
1187:La Petraia
1182:Spedaletto
1172:Mezzomonte
1132:Cafaggiolo
936:Alessandro
847:Cosimo III
765:Lorenzo II
644:References
452:Revoltella
353:Grand Tour
295:Lord Byron
272:Grand Tour
244:Detail of
237:in Italy.
140:Praxiteles
1738:TV series
1598:Musicians
1511:Donatello
1460:Patronage
1267:Seravezza
1202:La Topaia
1152:La Quiete
1116:Buildings
1081:Genealogy
972:Francesco
915:male line
908:Cardinals
837:Cosimo II
474:Mansuelli
421:sculptor
380:Louis XIV
341:Aphrodite
330:Aphrodite
325:Aphrodite
310:Aphrodite
156:Mannerist
121:, Italy.
99:Aphrodite
1743:episodes
1623:Heraldry
1405:Volterra
1385:Piombino
1380:Grosseto
1333:Materdei
1257:Artimino
1237:La Màgia
1167:Castello
1041:Giuliano
962:Leopoldo
942:Giovanni
938:(Leo XI)
931:Ippolito
919:Giovanni
868:Caterina
822:Cosimo I
804:Cosimo I
776:Ippolito
760:Giuliano
575:Archived
448:Florence
419:American
392:Coysevox
336:period.
334:Augustan
195:Peterhof
119:Florence
97:of love
75:Florence
67:Location
1723:Albizzi
1701:Related
1414:Chapels
1390:Pistoia
1318:Livorno
1281:Palaces
1247:Coltano
1242:Liliano
1227:Lapeggi
1197:Stabbia
1147:Fiesole
1142:Careggi
1137:Trebbio
1072:Mattias
1031:Filippo
921:(Leo X)
535:(1951).
456:Trieste
396:Frémery
388:Clérion
384:Carlier
372:Watelet
349:Silesia
345:genannt
285:Zoffany
144:Phidias
95:goddess
1375:Arezzo
1272:Madama
1177:Agnano
1124:Villas
1046:Zanobi
925:Giulio
899:Leo XI
770:Giulio
721:People
507:
400:Greuze
293:, and
148:Scopas
125:Origin
61:Marble
1400:Siena
952:Carlo
889:Leo X
882:Popes
873:Maria
462:Notes
175:Sulla
92:Greek
1328:Pisa
1262:Buti
505:ISBN
394:and
205:and
161:The
82:The
57:Type
49:Year
1665:Art
446:of
146:or
86:or
1762::
1428:,
978::
917::
581:).
550:11
458:.
454:,
390:,
386:,
359:.
217:,
117:,
73:,
706:e
699:t
692:v
635:.
533:3
20:)
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