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1482
The Birth of Venus
Aphrodite, mainly known as Venus, is an extraordinary example when looking at gender and sexuality roles within Greek and Roman mythology. The goddess of love and beauty is depicted as the center focus within this painting, with the other three individuals shown drawn to her grace. These goddesses were depicted as power holders to things such as fertility, land, marriage, and in this case love and beauty. However, Gods on the other hand we mainly hear about their heroic journeys and successes. -
1482
The Birth of Venus (continued)
In this image by Sandro Botticelli, viewers are very obviously encouraged to look at Aphrodite. She is pictured rising out of the sea as her "birth". Her gracefulness and harmony is illustrated by the onlookers circling her, as well as her stance within the scalloped shell. It is evident that the individuals surrounding her view her with respect and admiration. In many pieces surrounding this goddess, her body is very commonly exposed as she represents the beauty standard from that time period. -
Venus (Aphrodite) (continued)
The symbolism of this apple magnifies Aphrodite's role as goddess of beauty and love within Greek and Roman mythology. It also shows her central role within the "Judgement of Paris" myth. This classic illustration of Venus, only painted from the chest and above, represents her natural beauty with a hidden message. The focus is solely on her with no distracting characters or noisy background. At first glance the apple wouldn't be seen, yet it shows her triumphant nature and declaration of beauty. -
Venus (Aphrodite)
Aphrodite, in this piece by Cornelius Cornelisz. van Haarlem, is illustrated half nude, holding a golden apple in her right hand. This golden apple is what represents the "Judgement of Paris". The golden apple was said to belong to the fairest, causing goddesses to compete for its possession. The decision was ultimately up to the Trojan prince Paris, and eventually, Aphrodite won, leading Paris to choose her as most beautiful. She then promised him Helen in return, which sets off the Trojan war. -
Venus (Aphrodite)
This black and white piece by Jan Van Orley contains many aspects. It is evident that Venus is the main focus of this painting. Even in a piece with no color, she is highlighted in the middle, while others are surrounding her and are more muted. She is also portrayed above everyone else, representing her divine figure and power. Another aspect, similar to "The Birth of Venus", is that she is illustrated in the ocean, also within a shell, signifying her connection to her roots, her origin story. -
Venus (Aphrodite) (continued)
Moreover, there are dolphins surrounding her within her scalloped shell. These dolphins, while relating back to her creation, were also sacred creatures to Aphrodite and other gods by being their messengers and also their rescuing nature. These ocean swimmers were additionally associated with romance, which connects back to Aphrodite's powers of love and beauty. Her gracefulness can be seen as she is framed by cloth, while attendants respect and follow her lead as she gestures towards the left. -
The goddess Aphrodite (continued)
The silhouette of the 'Torso of Venus,' with its smooth, almost delicate form, reflected Victorian and early Romantic ideals of feminine allure. These qualities were seen as virtues in women, even as social expectations around femininity were shifting during the period. The image of Aphrodite's body as an object of both reverence and desire reinforced the notion of feminine beauty as both divine and unattainable. -
The goddess Aphrodite
The 'Torso of Venus,' discovered in 1842 in Florence, Italy, is a sculpture of the Greek goddess Aphrodite. She was first depicted completely naked by the sculptor Praxiteles around the 340 BC. This is a fragment of a complete sculpture which has been lost over time. The surviving torso still exemplifies classical ideals of beauty and femininity. Praxiteles' interpretation of her at the time was groundbreaking for its naturalism and sensuality. -
Aphrodite Statuette
This Aphrodite Statuette was discovered in a tomb in 1892, it offers a fascinating glimpse into the representation of women circa the 6th century B.C. While Greek art from this time often depicted women in passive, idealized forms, the Aphrodite Statuette stands out for its emphasis on the goddess's autonomy and grace. The pose of this sculpture, standing confidently with one hand on her hip and the other draped across her body, suggests not only beauty, but also power and self-possession. -
Aphrodite Statuette (continued)
While Greek society was primarily patriarchal, the figure of Aphrodite, often portrayed as both desirable and influential, challenged traditional, passive roles assigned to women. The statuette emphasizes the idea that women in this era were not merely subjects of male gaze or ownership. Instead, this artifact reflects an exquisite understanding of feminine power, offering an early, symbolic gesture toward women's agency, which would resonate through later feminist movements. -
Aphrodite Sculpture
Elbert Weinberg's sculpture of Aphrodite offers a powerful reimagining of the Greek goddess of love and beauty. It reflects both the cultural shift of the mid-20th century and emerging feminist ideals. Unlike traditional depictions of Aphrodite, which mainly focus on the idealization of feminine beauty through sensual poses, Weinberg's sculpture challenges these conventions by presenting the goddess, Aphrodite, in a more assertive form. With the more muscular, yet still graceful tone of her body -
Aphrodite Sculpture (continued)
(cont.), and the direct gaze, she stands as the symbol of strength, independence, and self-assurance. This portrayal was especially significant in the 1950's, a time when women in many parts of the world were beginning to challenge traditional gender roles and expectations. By positioning the goddess nor merely as an object of beauty, but as an active, empowering figure who asserts her autonomy, Weinberg engaged to the emerging talk of growing feminist consciousness. -
Etruscan Aphrodite Head, Terracotta
The Etruscan Aphrodite Head, a terracotta sculpture discovered in 1992, is believed to date back to the 3rd-2nd century BCE. The terracotta head, representing the goddess Aphrodite, conveys not only the typical beauty associated with her Greek counterpart but also a sense of power and freedom, which was notably more prominent in Etruscan art. In many ancient cultures, goddesses like Aphrodite were often portrayed as passive figures, their worth primarily linked to their beauty and desirability. -
Etruscan Aphrodite Head, Terracotta (continued)
In contrast, Etruscan women had the ability to own property, participate in public feasts, and take part in religious rituals. The Aphrodite Head, with its serene, composed expression and idealized yet commanding features, represents a vision of femininity that combines strength and dignity, mirroring the social reality of women’s empowerment in Etruria. Every aspect that Aphrodite represents is directly associated with gender and sexuality roles within Greek and Roman mythology.