728:
620:
38:
549:
652:
263:
271:
141:
684:
1026:
346:
709:
751:
1062:
841:
244:
727:
457:'s comment on Cabanel's painting is that "This Venus hovers somewhere between an ancient deity and a modern dream... and the ambiguity of her eyes, that seem to be closed but that a close look reveals that she is awake... A nude who could be asleep or awake is specially formidable for a male viewer".
603:
When the angle of impact is about 90°, ‘the “break” is both concentrated within a small width of swell, and very violent, so that the breaker shoots up in a column like a water-spout, 10–15 feet high, and falls back in an outward cascade of foam which may be carried some feet to leeward by the wind.
619:
214:, owing to its dilapidated condition, it was replaced by a copy made by the painter Dorotheus. Pliny, listing Apelles' best paintings, noted " Venus emerging from the sea, dedicated by the late Augustus of blessed memory in the shrine of
651:
237:, in which Venus is represented nude in the sea: "This extraordinary conservatism may perhaps be explained by the fact that the culture of the last pagan centuries remained alive longer in Provence than elsewhere."
37:
683:
583:
who draw onward to the
Americas the half-shell on which she stands. Cupid is displayed in the scene taking aim at a depiction of Neptune on the left waving a British flag. To the right is shown
243:
221:
The image of Venus
Anadyomene is one of the very few images that survived in Western Europe, essentially unchanged from its classical appearance, from Antiquity into the
881:
Venerem exeuntem e mari divus
Augustus dicavit in delubro patris Caesaris, quae anadyomene vocatur, versibus Graecis tantopere dum laudatur, aevis victa, sed inlustrata.
378:(c. 1514). This, rather than the Botticelli, was the dominant influence on paintings of the subject until the late 19th century. Paintings in this vein include those by
708:
548:
172:. A motif of the goddess wringing out her hair is often repeated. The subject was often repeated in Antiquity, a fourth-century sculptural representation from a
861:
587:
looking back to the Sable Venus and embracing one of the dolphins. The figure is one of feminine strength: muscular, lean and adorned by a jewel necklace.
262:
956:
750:
338:
in 2003. It depicts Venus standing in the sea, wringing out her hair. The scallop shell is merely symbolic, as it does not interact with Venus.
270:
140:
856:
285:
artists reading Pliny to emulate
Apelles, and if possible, to outdo him, Venus Anadyomene was taken up again in the 15th century: besides
1078:
1091:
41:
A bronze statue of Venus
Anadyomene made in the 1st or 2nd century. Venus is shown wringing out her hair. The statue was discovered in
409:
Rococo sculptures of the subject were modestly draped across the hips, but bolder nudes appealed to male nineteenth-century patrons.
1046:
920:
503:(1879), reimagines the composition of the Raphael and Poussin tradition, reflecting the subject's continuing popularity among the
218:
his father, which is called 'The
Anadyomene', praised in Greek verses like other works, conquered by time but undimmed in fame."
995:
741:
657:
494:
1011:
79:
718:
420:
145:
1038:
690:
519:
441:
335:
534:, Washington D.C., has a lifesize bronze plumbed so that water drips from Venus' hair, modelled by a close follower of
895:, 1995:153 note 8, and 154 fig. 58 referring to Codices Vindobonensis 2563 and 2583x and British Library Royal Ms 19,
304:
31:
46:
132:. At least one central female nude is practically required in the subject, which has contributed to its popularity.
1111:
663:
500:
312:
933:
642:
626:
425:
323:
410:
604:
It looks exactly like a human figure literally “rising from the sea” and spreading long hair and dripping arms.
571:
depicts an
African woman in the role of Venus. Attended by eight cherubs fanning her with feathers either of
1017:
531:
1025:
345:
560:
created an etching inspired by
Raphael or by Baroque compositions for the third edition of Bryan Edwards'
508:
415:
453:
for his own personal collection. Venus lies naked on the waves ambiguously, with putti flying above her.
599:
was on the coast near Paphos in winter. Watching the sea, he saw the wind blow two breakers together.
229:
instances two images of Venus among constellations illustrating 14th-century Provençal manuscripts of
1116:
511:. Venus' nude figure takes up the center of the composition, with many admirers gathered around her.
387:
102:
1086:
391:
121:
90:
699:
674:
360:
The subject was popular with
Baroque and Rococo painters, who made up large groups with attending
584:
291:
1035:
The
Aphrodite of Knidos and her successors: a historical review of the female nude in Greek art
1121:
1042:
916:
695:
436:
430:
374:
286:
129:
67:
846:
One or more of the preceding sentences incorporates text from a publication now in the
454:
413:
executed the subject in 1835; he repeated the hair-wringing gesture in his most famous work
395:
383:
222:
207:
821:
796:
557:
507:
of the late 19th century. It was shown at the Paris Salon of 1879, and was bought for the
399:
379:
349:
274:
230:
153:
523:(1907), a modernist deconstruction of the icon, and one of the foundational artworks of
1070:
983:
961:
472:
468:
364:, sea-nymphs, sea-horses, and tritons around the goddess; these might also be called a
296:
185:
59:
1105:
934:"(still image) The voyage of the Sable Venus, from Angola to the West Indies, (1793)"
852:
847:
776:
514:
429:, completed after many years in 1848, is one of the painter's most celebrated works (
215:
66:, "Venus, Rising from the Sea") is one of the iconic representations of the goddess
17:
991:
804:
737:
517:
recast the image of Venus Anadyomene in the central figure of his seminal painting
504:
450:
308:
120:
The subject never entirely disappeared in Western art, and revived greatly in the
563:
535:
446:
339:
282:
226:
173:
826:
596:
300:
195:
816:
484:
465:
461:
177:
169:
157:
94:
71:
913:
Eyes of Love: The Gaze in English and French Paintings and Novels 1840–1900
445:, reworking the then recently discovered Pompeii fresco, was shown at the
144:
A mural of Venus Anadyomene, with the goddess wringing her hair, from the
97:, the idea of Aphrodite rising from the sea was inspired by the courtesan
957:"Broken, Defaced, Unseen: The Hidden Black Female Figures of Western Art"
334:, formerly a long-term loan by the Duke of Sutherland, was bought by the
203:
106:
86:
42:
865:. Vol. 1 (11th ed.). Cambridge University Press. p. 907.
580:
576:
572:
369:
250:
191:
110:
75:
631:
524:
361:
318:
181:
165:
161:
125:
98:
936:. The New York Public Library, Astor, Lennox, and Tilden Foundation
113:
shell, often found in Venus Anadyomenes, is a symbol of the female
988:
Travelling Heroes: Greeks and their Myths in the Epic Age of Homer
547:
403:
353:
344:
269:
261:
139:
114:
36:
562:
The History, civil and Commercial of the British colonies in the
211:
530:
Venus Anadyomene offered a natural subject for a fountain: the
199:
569:
The voyage of the Sable Venus, from Angola to the West Indies
552:
The voyage of the sable Venus from Angola to the West Indies
543:
The voyage of the sable Venus from Angola to the West Indies
342:'s sculpture is also a single figure wringing out her hair.
460:
Such a highly conventionalized theme, with undertones of
1066:, Roman villa of Petit-Corbin, Gironde (Musée du Louvre)
915:
p.101, 1996, Reaktion Books, Art & Art Instruction,
614:
Later examples of representations of Venus Anadyomene
1092:
T.R. Quigley, "Semiotics and Western Painting", 1994
464:
justified by its mythological context, was ripe for
266:
Sandro Botticelli Uffizi Gallery, Florence 1484–1486
85:, with the anecdote that the great Apelles employed
299:, Florence), another early Venus Anadyomene is the
184:) testifying to the motif's continued viability in
932:Digital Collections, The New York Public Library.
489:La graisse sous la peau paraît en feuilles plates
996:Harvard University's Center for Hellenic Studies
249:Venus rising from the sea, a wall painting from
601:
479:("famous Venus") with all-too-human blemishes (
101:, who, during the time of the festivals of the
787:is preferred by some writers, for consistency.
206:in part payment of tribute, and set up in the
27:One of the iconic representations of Aphrodite
491:("the fat under the skin appears in slabs").
406:has an original and less formal composition.
74:), made famous in a much-admired painting by
8:
759:by Claude Pinet , 1830, Private Collection
1013:Venus in Pompeii: Iconography and Context
124:, with further boosts in the Baroque and
955:Coste Lewis, Robin (12 November 2016).
769:
612:
239:
483:) in a sardonic poem that introduced
202:, from which it was taken to Rome by
168:, which also perpetually renewed her
7:
45:and is now in the collection of the
779:: Ἀφροδίτη Ἀναδυομένη; ἀναδυομένη,
579:, she holds the reins of a pair of
160:as an adult woman from the sea off
1087:Arthur Rimbaud, "Vénus Anadyomène"
595:In 1913 the British archaeologist
25:
1024:
990:" (London: Allen Lane, 2008) by
839:
749:
726:
707:
682:
650:
618:
242:
194:' painting was executed for the
109:, often swam nude in the sea. A
742:Addison Gallery of American Art
893:The Survival of the Pagan Gods
394:(1740, Stockholm, and c. 1743
93:, for his model. According to
1:
1022:Especially pp. 126–132.
896:
719:Jean-Auguste-Dominique Ingres
667:
635:
475:evoked the image of a portly
328:
78:, now lost, but described in
1039:University of Michigan Press
1033:Havelock, Christine (1995).
891:Seznec, B.F. Sessions, tr.,
368:, and can be traced back to
336:National Gallery of Scotland
146:Casa del Principe di Napoli
128:, and in late 19th-century
1138:
664:William-Adolphe Bouguereau
538:, late sixteenth century.
501:William-Adolphe Bouguereau
313:Victoria and Albert Museum
231:Matfre Ermengau of Béziers
29:
1082:, National Gallery of Art
643:Scottish National Gallery
520:Les Demoiselles d'Avignon
386:(c. 1713, Getty Museum),
382:(1635–36, Philadelphia),
63:
47:Musée royal de Mariemont
1018:University of Leicester
862:Encyclopædia Britannica
783:, meaning "rising up";
532:National Gallery of Art
449:in 1863, and bought by
277:, 1635–36, Philadelphia
606:
553:
416:The Toilette of Esther
357:
281:Through the desire of
278:
267:
149:
50:
1096:Demoiselles d'Avignon
1010:Brain, Carla (2018).
982:Quoted in "Review of
551:
348:
273:
265:
143:
40:
785:Aphrodite Anadyomene
487:to high literature:
388:Pierre-Jacques Cazes
30:For other uses, see
18:Aphrodite Anadyomene
721:, completed in 1848
509:Musée du Luxembourg
411:Théodore Chassériau
258:Renaissance onwards
196:temple of Asclepius
122:Italian Renaissance
91:Alexander the Great
1071:Antonio Lombardo,
877:Historia Naturalis
691:The Birth of Venus
659:The Birth of Venus
554:
496:The Birth of Venus
442:The Birth of Venus
358:
292:The Birth of Venus
279:
268:
158:Aphrodite was born
150:
51:
1112:Venus Anadyomenes
696:Alexandre Cabanel
505:academic painters
437:Alexandre Cabanel
210:. In the time of
130:Academic painting
16:(Redirected from
1129:
1080:Venus Anadyomene
1073:Venus Anadyomene
1064:Venus Anadyomene
1052:
1029:
1028:
1021:
998:
980:
974:
973:
971:
969:
952:
946:
945:
943:
941:
929:
923:
909:
903:
901:
898:
889:
883:
873:
867:
866:
845:
843:
842:
836:
830:
814:
808:
794:
788:
774:
757:Venus Anadyomene
753:
734:Venus Anadyomene
730:
715:Venus Anadyomene
711:
686:
672:
669:
654:
640:
637:
627:Venus Anadyomene
622:
455:Robert Rosenblum
426:Venus Anadyomene
396:Hermitage Museum
392:François Boucher
384:Sebastiano Ricci
366:Triumph of Venus
333:
330:
324:Venus Anadyomene
305:Antonio Lombardo
246:
223:High Middle Ages
208:Temple of Caesar
89:, a mistress of
65:
55:Venus Anadyomene
21:
1137:
1136:
1132:
1131:
1130:
1128:
1127:
1126:
1102:
1101:
1059:
1049:
1032:
1023:
1009:
1006:
1004:Further reading
1001:
981:
977:
967:
965:
954:
953:
949:
939:
937:
931:
930:
926:
910:
906:
899:
890:
886:
874:
870:
855:, ed. (1911). "
851:
840:
838:
837:
833:
822:Deipnosophistae
815:
811:
801:Natural History
797:Pliny the Elder
795:
791:
775:
771:
767:
760:
754:
745:
731:
722:
712:
703:
687:
678:
670:
655:
646:
638:
623:
611:
593:
558:Thomas Stothard
546:
400:Cornelis de Vos
380:Nicolas Poussin
350:Cornelis de Vos
331:
275:Nicolas Poussin
260:
253:
247:
235:Breviari d'amor
154:Greek mythology
138:
82:Natural History
35:
28:
23:
22:
15:
12:
11:
5:
1135:
1133:
1125:
1124:
1119:
1114:
1104:
1103:
1100:
1099:
1089:
1084:
1076:
1068:
1058:
1057:External links
1055:
1054:
1053:
1047:
1030:
1016:(PhD thesis).
1005:
1002:
1000:
999:
984:Robin Lane Fox
975:
962:The New Yorker
947:
924:
911:Stephen Kern,
904:
884:
868:
853:Chisholm, Hugh
831:
809:
789:
768:
766:
763:
762:
761:
755:
748:
746:
732:
725:
723:
713:
706:
704:
688:
681:
679:
656:
649:
647:
624:
617:
615:
610:
607:
592:
589:
545:
540:
473:Arthur Rimbaud
469:deconstruction
297:Uffizi Gallery
259:
256:
255:
254:
248:
241:
186:Late Antiquity
137:
134:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
1134:
1123:
1120:
1118:
1115:
1113:
1110:
1109:
1107:
1097:
1093:
1090:
1088:
1085:
1083:
1081:
1077:
1075:
1074:
1069:
1067:
1065:
1061:
1060:
1056:
1050:
1048:9780472105854
1044:
1040:
1036:
1031:
1027:
1019:
1015:
1014:
1008:
1007:
1003:
997:
993:
989:
985:
979:
976:
964:
963:
958:
951:
948:
935:
928:
925:
922:
921:0-948462-83-3
918:
914:
908:
905:
894:
888:
885:
882:
878:
872:
869:
864:
863:
858:
854:
849:
848:public domain
835:
832:
828:
824:
823:
818:
813:
810:
806:
802:
798:
793:
790:
786:
782:
778:
777:Ancient Greek
773:
770:
764:
758:
752:
747:
743:
739:
735:
729:
724:
720:
716:
710:
705:
701:
700:Musée d'Orsay
697:
693:
692:
685:
680:
676:
675:Musée d'Orsay
665:
661:
660:
653:
648:
644:
633:
629:
628:
621:
616:
613:
608:
605:
600:
598:
590:
588:
586:
582:
578:
574:
570:
566:
565:
559:
550:
544:
541:
539:
537:
533:
528:
526:
522:
521:
516:
515:Pablo Picasso
512:
510:
506:
502:
498:
497:
492:
490:
486:
482:
478:
474:
470:
467:
463:
458:
456:
452:
448:
444:
443:
438:
434:
432:
428:
427:
422:
418:
417:
412:
407:
405:
401:
397:
393:
389:
385:
381:
377:
376:
371:
367:
363:
356:, before 1651
355:
351:
347:
343:
341:
337:
326:
325:
320:
316:
314:
310:
306:
302:
298:
294:
293:
288:
284:
276:
272:
264:
257:
252:
245:
240:
238:
236:
232:
228:
224:
219:
217:
213:
209:
205:
201:
197:
193:
189:
187:
183:
179:
175:
171:
167:
163:
159:
155:
152:According to
147:
142:
135:
133:
131:
127:
123:
118:
116:
112:
108:
104:
100:
96:
92:
88:
84:
83:
77:
73:
69:
61:
57:
56:
48:
44:
39:
33:
19:
1095:
1079:
1072:
1063:
1034:
1012:
992:Gregory Nagy
987:
978:
966:. Retrieved
960:
950:
938:. Retrieved
927:
912:
907:
892:
887:
880:
876:
871:
860:
834:
820:
812:
800:
792:
784:
780:
772:
756:
738:Paul Manship
733:
714:
689:
658:
625:
602:
594:
568:
561:
555:
542:
529:
518:
513:
495:
493:
488:
480:
476:
459:
451:Napoleon III
440:
435:
424:
414:
408:
373:
365:
359:
322:
317:
309:Wilton House
290:
287:Botticelli's
280:
234:
220:
190:
151:
119:
81:
54:
53:
52:
1117:Iconography
671: 1879
639: 1520
591:Wave theory
564:West Indies
536:Giambologna
477:Clara Venus
447:Paris Salon
431:Musée Condé
340:Giambologna
332: 1520
283:Renaissance
227:Jean Seznec
174:Gallo-Roman
1106:Categories
1094:Picasso's
968:5 December
940:5 December
857:Anadyomene
805:xxxv.86–87
781:anadyoménē
765:References
597:John Myres
471:; in 1870
301:bas-relief
148:in Pompeii
107:Poseidonia
64:Ἀναδυόμενη
32:Anadyomene
827:xiii.590F
817:Athenaeus
702:, Paris).
677:, Paris).
556:In 1793,
485:cellulite
466:modernist
462:eroticism
178:Aquitania
176:villa in
170:virginity
136:Antiquity
103:Eleusinia
95:Athenaeus
72:Aphrodite
1122:Nude art
900: 1
879:xxxv.91
740:, 1927 (
698:, 1863 (
581:dolphins
481:déficits
419:(1841).
204:Augustus
87:Campaspe
80:Pliny's
43:Kortrijk
875:Pliny,
850::
609:Gallery
577:peacock
573:ostrich
402:in the
375:Galatea
370:Raphael
362:cherubs
289:famous
251:Pompeii
192:Apelles
111:scallop
76:Apelles
1045:
919:
844:
632:Titian
585:Triton
575:or of
525:Cubism
421:Ingres
319:Titian
216:Caesar
182:Louvre
166:Cyprus
162:Paphos
126:Rococo
99:Phryne
662:, by
630:, by
499:, by
404:Prado
398:). A
354:Prado
307:from
115:vulva
68:Venus
60:Greek
1043:ISBN
970:2018
942:2018
917:ISBN
212:Nero
105:and
859:".
736:by
717:by
694:by
439:'s
433:).
372:'s
321:'s
315:).
303:by
200:Kos
198:at
164:in
1108::
1041:.
1037:.
994:,
986:,
959:.
897:c.
825:,
819:.
803:,
799:,
668:c.
666:,
645:).
636:c.
634:,
567:.
527:.
423:'
390:,
352:,
329:c.
327:,
233:'
225:.
188:.
156:,
117:.
62::
1098:.
1051:.
1020:.
972:.
944:.
902:.
829:.
807:.
744:)
673:(
641:(
311:(
295:(
180:(
70:(
58:(
49:.
34:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
