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  2. Venus de Milo - Wikipedia

    en.wikipedia.org/wiki/Venus_de_Milo

    The Venus de Milo or Aphrodite of Melos [b] is an ancient Greek marble sculpture that was created during the Hellenistic period. Its exact dating is uncertain, but the modern consensus places it in the 2nd century BC, perhaps between 160 and 110 BC.

  3. Sleeping Hermaphroditus - Wikipedia

    en.wikipedia.org/wiki/Sleeping_Hermaphroditus

    The Sleeping Hermaphrodite is an ancient marble sculpture depicting Hermaphroditus life size. In 1620, Italian artist Gian Lorenzo Bernini sculpted the mattress upon which the statue now lies. The form is partly derived from ancient portrayals of Venus and other female nudes, and partly from contemporaneous feminised Hellenistic portrayals of ...

  4. Aphrodite of Knidos - Wikipedia

    en.wikipedia.org/wiki/Aphrodite_of_Knidos

    The Aphrodite of Knidos (or Cnidus) was an Ancient Greek sculpture of the goddess Aphrodite created by Praxiteles of Athens around the 4th century BC. It was one of the first life-sized representations of the nude female form in Greek history, displaying an alternative idea to male heroic nudity .

  5. Venus Genetrix (sculpture) - Wikipedia

    en.wikipedia.org/wiki/Venus_Genetrix_(sculpture)

    The Aphrodite of Fréjus at the Louvre. A 1.64 m-high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work.

  6. Hermaphroditus - Wikipedia

    en.wikipedia.org/wiki/Hermaphroditus

    The first mention of Hermes and Aphrodite as Hermaphroditus's parents was by the Greek historian Diodorus Siculus (1st century BC) in his book Bibliotheca historica, book IV, 4.6.5. Hermaphroditus, as he has been called, who was born of Hermes and Aphrodite and received a name which is a combination of those of both his parents.

  7. Venus Callipyge - Wikipedia

    en.wikipedia.org/wiki/Venus_Callipyge

    Venus Callipyge by François Barois, 1683–1686 (Musée du Louvre). The restorers' decision to have the figure look over her back greatly affected subsequent interpretations, to the point that the classicists Mary Beard and J. G. W. Henderson describe it as having "created a 'masterpiece' in place of a fragment". [6]

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