Aphrodite     Venus Genetrix    Greek, last half of 5th century B.C.   The Louvre, Paris by A. Santini and G. Ruggeri from ISAC Statue, Italy Call us toll-free if you need more information: (800) 573-4079

Title Aphrodite - Venus Genetrix  Artist A. Santini  Material Bonded Cararra Marble  Finish  White, As Shown  Size  24.5"Hx14"W9"D  Maker ISAC Product ID 760001772 List Price   $612.00 Internet Discount -114.00 Your Price   $498.00 In Stock  Yes Ships in 2-3 days   UPS Shipping Ground - 48 States $32.00 Venus was a major Roman goddess principally associated with love, beauty and fertility,who played a key role in many Roman religious festivals and myths. From the third century BC, the increasing Hellenization of Roman upper classes identified her as the equivalent of the Greek goddess Aphrodite. In this way Venus was the consort of Vulcan. Virgil, in compliment to his patron Augustus and the gens Julia made Venus, whom Julius Caesar adopted as his protectress, the ancestor of the Roman people by way of its legendary founder Aeneas and his son Iulus.

During the marvelous Golden Age of Greece, sculpture advanced rapidly in technique and ideal. It reached a perfection that in its particular way has never been surpassed. Sculpturing chracteristics of the period are present in this Aphrodite called Venus Genetrix by the Romans. The desire was to combine naturalism with abstraction, to create an idealized human figure in a state of composure. Greek sculptors had mastered the representation of the body through an accurate knowledge of human anatomy. This mastery enabled them to represent the body with a composure which reflected the security and confidence which their achievements had given them. Cross relationships may be observed in the balance between the muscularly supported right arm holding the drape and the same kind of support in the left forearm bearing the weight of the apple. The charmingly lowered left shoulder emphasizes this relationship. Another characteristic of the fifth century B.C. is to be seen in the quality of the face and the gaze which indicated detachement from the figure's surroundings. The marvelous carving of the diaphanous garment adds grace to the statue while revealing the contours of the body. The rear view is made particularly interesting by the sweeping curves of the hand held shoulder drape in opposition to the vertical folds of the chiton.