Winged Victory of Samothrace

Prompt: Describe the characteristics of the Dimensions and construction of the set in Winged Victory of Samothrace's Description.

Total height: 5.57 mStatue height: 2.75 m with wings; 2.40 m body without headShip height: 2.01 m; length: 4.29 m; width max.: 2.48 mBase height: 0.36 m; length: 4.76 m; width: 1.76 mThe Victory statue, about 1.6 times life size, is not cut from a single block of marble, but composed of six blocks worked separately: the body, the bust with the head, the two arms and the two wings. These blocks were assembled together by metal braces (bronze or iron). This technique, used for a long time by Greek sculptors for the protruding parts of statues, was used in Hellenistic times for the body itself, thus making it possible to use smaller pieces of marble, therefore less rare and less expensive. In the case of Victory, the sculptor optimized this technique by tilting the joint surfaces that connect the wings to the body by 20° forward, which ensured their cantilevered support in the back. To the body-block were added smaller projecting pieces: the end of the flying mantle at the back and the end of the fold falling to the ground in front of the left leg have been reattached; the right foot, the back of the left leg with the foot and a drapery fold in front of the legs are lost.The ship is composed of 16 blocks divided into three increasingly wide assizes aft, placed on a rectangular base. The seventeenth block, which remained in Samothrace, completed the void at the back of the upper assembly, just under the statue. Its weight allowed the cantilever of the blocks of the protruding oar boxes to hold on the sides. The baseboard of the statue was embedded in a basin dug on this block. Its contours, fully visible during the 2014 restoration, made it possible to determine the location of the statue very precisely.The statue and base are inseparable to ensure the balance of the monument, designed as a whole.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: In the context of Winged Victory of Samothrace, explain the The location and the Architectural context.

The sanctuary of the Great Gods of Samothrace is located in a very narrow river valley. The buildings reserved for the Mysteries ceremonies occupied the entire bottom of the valley. From the 3rd century BC, the entrance to the site was a monumental propylaia to the east. To the west was a very long portico to house pilgrims (the stoa) and important offerings. The Victory Monument was located at the south end of the portico terrace, in a rectangular space dug into the hillside, and set back and raised from the theatre; facing north, it overlooks the entire sanctuary. In 1863 Champoiseau described and drew the monument surrounded on three sides by a limestone wall. All that remains of this enclosure now are the foundations of the walls, surrounded at the bottom and sides by walls supporting the lands of the hill. The enclosure itself is 13.40 m wide by 9.55 m long, and we know from the surveys made by Hauser in 1876 that the Victory was arranged obliquely 14.5° from the back wall. This arrangement highlights the left side of the statue for the observer from the terrace, which explains why the sculpture work is much more elaborate on this side than on the other. Large natural rocks are visible in the front part of the space. The foundation walls have been restored and the place of the monument artificially indicated.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: Explain the The location about the Architectural context of this artwork, Winged Victory of Samothrace.

The sanctuary of the Great Gods of Samothrace is located in a very narrow river valley. The buildings reserved for the Mysteries ceremonies occupied the entire bottom of the valley. From the 3rd century BC, the entrance to the site was a monumental propylaia to the east. To the west was a very long portico to house pilgrims (the stoa) and important offerings. The Victory Monument was located at the south end of the portico terrace, in a rectangular space dug into the hillside, and set back and raised from the theatre; facing north, it overlooks the entire sanctuary. In 1863 Champoiseau described and drew the monument surrounded on three sides by a limestone wall. All that remains of this enclosure now are the foundations of the walls, surrounded at the bottom and sides by walls supporting the lands of the hill. The enclosure itself is 13.40 m wide by 9.55 m long, and we know from the surveys made by Hauser in 1876 that the Victory was arranged obliquely 14.5° from the back wall. This arrangement highlights the left side of the statue for the observer from the terrace, which explains why the sculpture work is much more elaborate on this side than on the other. Large natural rocks are visible in the front part of the space. The foundation walls have been restored and the place of the monument artificially indicated.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: In Winged Victory of Samothrace, how is the The location of the Architectural context explained?

The sanctuary of the Great Gods of Samothrace is located in a very narrow river valley. The buildings reserved for the Mysteries ceremonies occupied the entire bottom of the valley. From the 3rd century BC, the entrance to the site was a monumental propylaia to the east. To the west was a very long portico to house pilgrims (the stoa) and important offerings. The Victory Monument was located at the south end of the portico terrace, in a rectangular space dug into the hillside, and set back and raised from the theatre; facing north, it overlooks the entire sanctuary. In 1863 Champoiseau described and drew the monument surrounded on three sides by a limestone wall. All that remains of this enclosure now are the foundations of the walls, surrounded at the bottom and sides by walls supporting the lands of the hill. The enclosure itself is 13.40 m wide by 9.55 m long, and we know from the surveys made by Hauser in 1876 that the Victory was arranged obliquely 14.5° from the back wall. This arrangement highlights the left side of the statue for the observer from the terrace, which explains why the sculpture work is much more elaborate on this side than on the other. Large natural rocks are visible in the front part of the space. The foundation walls have been restored and the place of the monument artificially indicated.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: Describe the characteristics of the The location in Winged Victory of Samothrace's Architectural context.

The sanctuary of the Great Gods of Samothrace is located in a very narrow river valley. The buildings reserved for the Mysteries ceremonies occupied the entire bottom of the valley. From the 3rd century BC, the entrance to the site was a monumental propylaia to the east. To the west was a very long portico to house pilgrims (the stoa) and important offerings. The Victory Monument was located at the south end of the portico terrace, in a rectangular space dug into the hillside, and set back and raised from the theatre; facing north, it overlooks the entire sanctuary. In 1863 Champoiseau described and drew the monument surrounded on three sides by a limestone wall. All that remains of this enclosure now are the foundations of the walls, surrounded at the bottom and sides by walls supporting the lands of the hill. The enclosure itself is 13.40 m wide by 9.55 m long, and we know from the surveys made by Hauser in 1876 that the Victory was arranged obliquely 14.5° from the back wall. This arrangement highlights the left side of the statue for the observer from the terrace, which explains why the sculpture work is much more elaborate on this side than on the other. Large natural rocks are visible in the front part of the space. The foundation walls have been restored and the place of the monument artificially indicated.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: In the context of Winged Victory of Samothrace, explain the Interpretation and the Architectural context.

The reconstructed whole has given rise to various interpretations. K. Lehmann hypothesized that the monument was placed in the basin of an open-air fountain, with water effects on the large rocks arranged for this purpose. But they could not be part of the original layout since the palm of the right hand was found under one of them: Charbonneau thought they came from a later natural landslide. The fountain hypothesis has been abandoned since the excavations of J. McCredie and B. Wescoat demonstrated that there was no water supply to the enclosure.Recent research has not determined the exact nature of the Victory's architectural setting, more than 500 blocks of which have been reused in a Byzantine construction at the other end of the west hill. Fragments of coloured plaster and some elements of terracotta architectural decoration were found in the enclosure. Two 3D reconstructions have been proposed by B. Wescoat: either low walls forming a peribolos around the open-air monument, or a covered building with columns and pediment of the naiskos type. The excellent state of conservation of the sculpture's surface suggests that it did not stay in the open air for long. The overall reconstruction of the sanctuary in 3D also highlighted that the statue of Victory was oriented along the axis of the river, which was the only unobstructed perspective of the sanctuary: the monument was thus clearly visible from the bottom of the valley.Another hypothesis was proposed by Jean Richer (archaeologist) who observed that the ship on which the statue is placed represents the constellation of the Argo: the ship's bow and the statue had been deliberately placed at an angle, within the important Sanctuary of the Great Gods of Samothrace, so that Victory looked northward: according to Richer, this direction shows the path that leads to the gate of the gods identified at Mount Hemos, and thus alludes to a spiritual victory; for, in this orientation, the momentum and gaze of the statue were directed at the northeast corner of the Anaktoron, seat of the Little Mysteries, where initiation was given. This angle was thus the most sacred of the building.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: Explain the Interpretation about the Architectural context of this artwork, Winged Victory of Samothrace.

The reconstructed whole has given rise to various interpretations. K. Lehmann hypothesized that the monument was placed in the basin of an open-air fountain, with water effects on the large rocks arranged for this purpose. But they could not be part of the original layout since the palm of the right hand was found under one of them: Charbonneau thought they came from a later natural landslide. The fountain hypothesis has been abandoned since the excavations of J. McCredie and B. Wescoat demonstrated that there was no water supply to the enclosure.Recent research has not determined the exact nature of the Victory's architectural setting, more than 500 blocks of which have been reused in a Byzantine construction at the other end of the west hill. Fragments of coloured plaster and some elements of terracotta architectural decoration were found in the enclosure. Two 3D reconstructions have been proposed by B. Wescoat: either low walls forming a peribolos around the open-air monument, or a covered building with columns and pediment of the naiskos type. The excellent state of conservation of the sculpture's surface suggests that it did not stay in the open air for long. The overall reconstruction of the sanctuary in 3D also highlighted that the statue of Victory was oriented along the axis of the river, which was the only unobstructed perspective of the sanctuary: the monument was thus clearly visible from the bottom of the valley.Another hypothesis was proposed by Jean Richer (archaeologist) who observed that the ship on which the statue is placed represents the constellation of the Argo: the ship's bow and the statue had been deliberately placed at an angle, within the important Sanctuary of the Great Gods of Samothrace, so that Victory looked northward: according to Richer, this direction shows the path that leads to the gate of the gods identified at Mount Hemos, and thus alludes to a spiritual victory; for, in this orientation, the momentum and gaze of the statue were directed at the northeast corner of the Anaktoron, seat of the Little Mysteries, where initiation was given. This angle was thus the most sacred of the building.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: In Winged Victory of Samothrace, how is the Interpretation of the Architectural context explained?

The reconstructed whole has given rise to various interpretations. K. Lehmann hypothesized that the monument was placed in the basin of an open-air fountain, with water effects on the large rocks arranged for this purpose. But they could not be part of the original layout since the palm of the right hand was found under one of them: Charbonneau thought they came from a later natural landslide. The fountain hypothesis has been abandoned since the excavations of J. McCredie and B. Wescoat demonstrated that there was no water supply to the enclosure.Recent research has not determined the exact nature of the Victory's architectural setting, more than 500 blocks of which have been reused in a Byzantine construction at the other end of the west hill. Fragments of coloured plaster and some elements of terracotta architectural decoration were found in the enclosure. Two 3D reconstructions have been proposed by B. Wescoat: either low walls forming a peribolos around the open-air monument, or a covered building with columns and pediment of the naiskos type. The excellent state of conservation of the sculpture's surface suggests that it did not stay in the open air for long. The overall reconstruction of the sanctuary in 3D also highlighted that the statue of Victory was oriented along the axis of the river, which was the only unobstructed perspective of the sanctuary: the monument was thus clearly visible from the bottom of the valley.Another hypothesis was proposed by Jean Richer (archaeologist) who observed that the ship on which the statue is placed represents the constellation of the Argo: the ship's bow and the statue had been deliberately placed at an angle, within the important Sanctuary of the Great Gods of Samothrace, so that Victory looked northward: according to Richer, this direction shows the path that leads to the gate of the gods identified at Mount Hemos, and thus alludes to a spiritual victory; for, in this orientation, the momentum and gaze of the statue were directed at the northeast corner of the Anaktoron, seat of the Little Mysteries, where initiation was given. This angle was thus the most sacred of the building.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: Describe the characteristics of the Interpretation in Winged Victory of Samothrace's Architectural context.

The reconstructed whole has given rise to various interpretations. K. Lehmann hypothesized that the monument was placed in the basin of an open-air fountain, with water effects on the large rocks arranged for this purpose. But they could not be part of the original layout since the palm of the right hand was found under one of them: Charbonneau thought they came from a later natural landslide. The fountain hypothesis has been abandoned since the excavations of J. McCredie and B. Wescoat demonstrated that there was no water supply to the enclosure.Recent research has not determined the exact nature of the Victory's architectural setting, more than 500 blocks of which have been reused in a Byzantine construction at the other end of the west hill. Fragments of coloured plaster and some elements of terracotta architectural decoration were found in the enclosure. Two 3D reconstructions have been proposed by B. Wescoat: either low walls forming a peribolos around the open-air monument, or a covered building with columns and pediment of the naiskos type. The excellent state of conservation of the sculpture's surface suggests that it did not stay in the open air for long. The overall reconstruction of the sanctuary in 3D also highlighted that the statue of Victory was oriented along the axis of the river, which was the only unobstructed perspective of the sanctuary: the monument was thus clearly visible from the bottom of the valley.Another hypothesis was proposed by Jean Richer (archaeologist) who observed that the ship on which the statue is placed represents the constellation of the Argo: the ship's bow and the statue had been deliberately placed at an angle, within the important Sanctuary of the Great Gods of Samothrace, so that Victory looked northward: according to Richer, this direction shows the path that leads to the gate of the gods identified at Mount Hemos, and thus alludes to a spiritual victory; for, in this orientation, the momentum and gaze of the statue were directed at the northeast corner of the Anaktoron, seat of the Little Mysteries, where initiation was given. This angle was thus the most sacred of the building.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: In the context of Winged Victory of Samothrace, explain the An offering and the Function, date and style.

In the sanctuary of the Great Gods of Samothrace, as in all the great pan-Hellenic shrines, the faithful offered their ex-votos, from the most modest to the most sumptuous according to their wealth. It was a way to honour the gods and thank them for their benefits. In addition to a promise of a better spiritual life, the Cabeiri gods, including the Dioscuri, were reputed to ensure their protection to those who were initiated into their Mysteries if they were in danger at sea and in combat. Summoning them allowed their initiates to be saved from shipwreck and to obtain victory. In this context, a representation of Victory landing on a ship's bow can be interpreted as an offering to thank the Great Gods following an important naval victory.Several major naval offerings were known in the 3rd century BC. In the Greek world, such as the "bull monument" in Delos, the naval monument of the agora in Cyrene and Samothrace itself, the Neorion (No. 6 on the map), which housed a ship about twenty meters long. In Rhodes, an offering of the same type as the base of Samothrace, but smaller, was found in the sanctuary of Athena at the top of the acropolis of Lindos.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: Explain the An offering about the Function, date and style of this artwork, Winged Victory of Samothrace.

In the sanctuary of the Great Gods of Samothrace, as in all the great pan-Hellenic shrines, the faithful offered their ex-votos, from the most modest to the most sumptuous according to their wealth. It was a way to honour the gods and thank them for their benefits. In addition to a promise of a better spiritual life, the Cabeiri gods, including the Dioscuri, were reputed to ensure their protection to those who were initiated into their Mysteries if they were in danger at sea and in combat. Summoning them allowed their initiates to be saved from shipwreck and to obtain victory. In this context, a representation of Victory landing on a ship's bow can be interpreted as an offering to thank the Great Gods following an important naval victory.Several major naval offerings were known in the 3rd century BC. In the Greek world, such as the "bull monument" in Delos, the naval monument of the agora in Cyrene and Samothrace itself, the Neorion (No. 6 on the map), which housed a ship about twenty meters long. In Rhodes, an offering of the same type as the base of Samothrace, but smaller, was found in the sanctuary of Athena at the top of the acropolis of Lindos.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: In Winged Victory of Samothrace, how is the An offering of the Function, date and style explained?

In the sanctuary of the Great Gods of Samothrace, as in all the great pan-Hellenic shrines, the faithful offered their ex-votos, from the most modest to the most sumptuous according to their wealth. It was a way to honour the gods and thank them for their benefits. In addition to a promise of a better spiritual life, the Cabeiri gods, including the Dioscuri, were reputed to ensure their protection to those who were initiated into their Mysteries if they were in danger at sea and in combat. Summoning them allowed their initiates to be saved from shipwreck and to obtain victory. In this context, a representation of Victory landing on a ship's bow can be interpreted as an offering to thank the Great Gods following an important naval victory.Several major naval offerings were known in the 3rd century BC. In the Greek world, such as the "bull monument" in Delos, the naval monument of the agora in Cyrene and Samothrace itself, the Neorion (No. 6 on the map), which housed a ship about twenty meters long. In Rhodes, an offering of the same type as the base of Samothrace, but smaller, was found in the sanctuary of Athena at the top of the acropolis of Lindos.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: Describe the characteristics of the An offering in Winged Victory of Samothrace's Function, date and style.

In the sanctuary of the Great Gods of Samothrace, as in all the great pan-Hellenic shrines, the faithful offered their ex-votos, from the most modest to the most sumptuous according to their wealth. It was a way to honour the gods and thank them for their benefits. In addition to a promise of a better spiritual life, the Cabeiri gods, including the Dioscuri, were reputed to ensure their protection to those who were initiated into their Mysteries if they were in danger at sea and in combat. Summoning them allowed their initiates to be saved from shipwreck and to obtain victory. In this context, a representation of Victory landing on a ship's bow can be interpreted as an offering to thank the Great Gods following an important naval victory.Several major naval offerings were known in the 3rd century BC. In the Greek world, such as the "bull monument" in Delos, the naval monument of the agora in Cyrene and Samothrace itself, the Neorion (No. 6 on the map), which housed a ship about twenty meters long. In Rhodes, an offering of the same type as the base of Samothrace, but smaller, was found in the sanctuary of Athena at the top of the acropolis of Lindos.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: In the context of Winged Victory of Samothrace, explain the Dating and the Function, date and style.

The dedication inscription of the Victory Monument has not been found. Archaeologists are reduced to hypothesizing to define the historical context and to determine the naval victory justifying the erection of such an important ex voto. The difficulty lies in the fact that in the 2nd and 3rd centuries BC naval battles to dominate the Aegean Sea were very numerous, first pitting the Antigonids and their Seleucid allies against the Lagids, then the Seleucids to the Rhodians and Pergamon.Austrian archaeologists first considered that the monument of Samothrace is the one represented on the tetradrachma of Demetrios Poliorcetes. They conclude that, like the coin, he celebrated his victory against Ptolemy I at the Battle of Salamis at Cyprus in 306 BC. According to Benndorf, the Victory of Samothrace therefore dates from the last years of the fourth century BC. and may have been sculpted by a student of sculptor Scopas.The construction of the monument was then related to the Battle of Cos (around 262–255 BC), during which the King of Macedonia Antigonus II Gonatas defeated the Lagids, allied with Athens and Sparta during the Chremonidean War. Antigonus Gonatas is also credited with the dedication, at the same time, of his flagship in the Neorium in Delos.The material of the base of the Victory of Samothrace was identified as early as 1905 as marble from the quarries of Lartos in Rhodes. The same is true of the small fragment found in 1891 by Champoiseau within the walls of the monument to Samothrace, bearing the end of an engraved name: [...]Σ ΡΟΔΙΟΣ. In 1931, Hermann Thiersch restored the name of the sculptor "Pythokritos son of Timocharis of Rhodes", active around 210–165 BC. He was convinced that the fragment belongs to the ship-shaped base: he therefore made this sculptor the author of the Victory of Samothrace. According to him, the monument was commissioned by the Rhodians, allies in the kingdom of Pergamos against Antiochus III, after their victory at the naval battles of Side and Myonnesos, on the Ionian coast, in 190 BC. Excavations revealed that the sculpture was positioned alighting on a flagship, that was set in the ground in a way that it looked as it was floating. The definitive victory against the Seleucids came in 189 BC. at the Battle of Sipyla Magnesia. The monument was therefore reportedly erected in Samothrace shortly after that date. Jean Charbonneaux also admits the historical link between the Victory of Samothrace and the battles of Myonnesus and Magnesia, and makes it the dedication of King Eumene II.Based on the same arguments, Nathan Badoud in 2018 favoured the conflict that earlier pitted the Rhodians and the King of Pergamon against King Philip V of Macedonia. The Rhodians were first defeated at the naval Battle of Lade in 201 BC. Then Philip V was defeated at sea by the two allies at the Battle of Chios in 201 BC. Rhodes and Pergamon called on the Roman Republic for reinforcements, and Titus Quinctius Flamininus crushed the Macedonian army in Thessaly with the Battle of Cynoscephalae. The Rhodians reportedly dedicated the Victory Monument after that date, for their victory in Chios.Other researchers have considered later occasions: the victory of the Romans at Pydna in 168 BC. over Perseus, or a consecration of the kingdom of Pergamon at the same time, or the victory of Pergamon and Rhodes against Prusias II of Bithynia in 154 BC.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: Explain the Dating about the Function, date and style of this artwork, Winged Victory of Samothrace.

The dedication inscription of the Victory Monument has not been found. Archaeologists are reduced to hypothesizing to define the historical context and to determine the naval victory justifying the erection of such an important ex voto. The difficulty lies in the fact that in the 2nd and 3rd centuries BC naval battles to dominate the Aegean Sea were very numerous, first pitting the Antigonids and their Seleucid allies against the Lagids, then the Seleucids to the Rhodians and Pergamon.Austrian archaeologists first considered that the monument of Samothrace is the one represented on the tetradrachma of Demetrios Poliorcetes. They conclude that, like the coin, he celebrated his victory against Ptolemy I at the Battle of Salamis at Cyprus in 306 BC. According to Benndorf, the Victory of Samothrace therefore dates from the last years of the fourth century BC. and may have been sculpted by a student of sculptor Scopas.The construction of the monument was then related to the Battle of Cos (around 262–255 BC), during which the King of Macedonia Antigonus II Gonatas defeated the Lagids, allied with Athens and Sparta during the Chremonidean War. Antigonus Gonatas is also credited with the dedication, at the same time, of his flagship in the Neorium in Delos.The material of the base of the Victory of Samothrace was identified as early as 1905 as marble from the quarries of Lartos in Rhodes. The same is true of the small fragment found in 1891 by Champoiseau within the walls of the monument to Samothrace, bearing the end of an engraved name: [...]Σ ΡΟΔΙΟΣ. In 1931, Hermann Thiersch restored the name of the sculptor "Pythokritos son of Timocharis of Rhodes", active around 210–165 BC. He was convinced that the fragment belongs to the ship-shaped base: he therefore made this sculptor the author of the Victory of Samothrace. According to him, the monument was commissioned by the Rhodians, allies in the kingdom of Pergamos against Antiochus III, after their victory at the naval battles of Side and Myonnesos, on the Ionian coast, in 190 BC. Excavations revealed that the sculpture was positioned alighting on a flagship, that was set in the ground in a way that it looked as it was floating. The definitive victory against the Seleucids came in 189 BC. at the Battle of Sipyla Magnesia. The monument was therefore reportedly erected in Samothrace shortly after that date. Jean Charbonneaux also admits the historical link between the Victory of Samothrace and the battles of Myonnesus and Magnesia, and makes it the dedication of King Eumene II.Based on the same arguments, Nathan Badoud in 2018 favoured the conflict that earlier pitted the Rhodians and the King of Pergamon against King Philip V of Macedonia. The Rhodians were first defeated at the naval Battle of Lade in 201 BC. Then Philip V was defeated at sea by the two allies at the Battle of Chios in 201 BC. Rhodes and Pergamon called on the Roman Republic for reinforcements, and Titus Quinctius Flamininus crushed the Macedonian army in Thessaly with the Battle of Cynoscephalae. The Rhodians reportedly dedicated the Victory Monument after that date, for their victory in Chios.Other researchers have considered later occasions: the victory of the Romans at Pydna in 168 BC. over Perseus, or a consecration of the kingdom of Pergamon at the same time, or the victory of Pergamon and Rhodes against Prusias II of Bithynia in 154 BC.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: In Winged Victory of Samothrace, how is the Dating of the Function, date and style explained?

The dedication inscription of the Victory Monument has not been found. Archaeologists are reduced to hypothesizing to define the historical context and to determine the naval victory justifying the erection of such an important ex voto. The difficulty lies in the fact that in the 2nd and 3rd centuries BC naval battles to dominate the Aegean Sea were very numerous, first pitting the Antigonids and their Seleucid allies against the Lagids, then the Seleucids to the Rhodians and Pergamon.Austrian archaeologists first considered that the monument of Samothrace is the one represented on the tetradrachma of Demetrios Poliorcetes. They conclude that, like the coin, he celebrated his victory against Ptolemy I at the Battle of Salamis at Cyprus in 306 BC. According to Benndorf, the Victory of Samothrace therefore dates from the last years of the fourth century BC. and may have been sculpted by a student of sculptor Scopas.The construction of the monument was then related to the Battle of Cos (around 262–255 BC), during which the King of Macedonia Antigonus II Gonatas defeated the Lagids, allied with Athens and Sparta during the Chremonidean War. Antigonus Gonatas is also credited with the dedication, at the same time, of his flagship in the Neorium in Delos.The material of the base of the Victory of Samothrace was identified as early as 1905 as marble from the quarries of Lartos in Rhodes. The same is true of the small fragment found in 1891 by Champoiseau within the walls of the monument to Samothrace, bearing the end of an engraved name: [...]Σ ΡΟΔΙΟΣ. In 1931, Hermann Thiersch restored the name of the sculptor "Pythokritos son of Timocharis of Rhodes", active around 210–165 BC. He was convinced that the fragment belongs to the ship-shaped base: he therefore made this sculptor the author of the Victory of Samothrace. According to him, the monument was commissioned by the Rhodians, allies in the kingdom of Pergamos against Antiochus III, after their victory at the naval battles of Side and Myonnesos, on the Ionian coast, in 190 BC. Excavations revealed that the sculpture was positioned alighting on a flagship, that was set in the ground in a way that it looked as it was floating. The definitive victory against the Seleucids came in 189 BC. at the Battle of Sipyla Magnesia. The monument was therefore reportedly erected in Samothrace shortly after that date. Jean Charbonneaux also admits the historical link between the Victory of Samothrace and the battles of Myonnesus and Magnesia, and makes it the dedication of King Eumene II.Based on the same arguments, Nathan Badoud in 2018 favoured the conflict that earlier pitted the Rhodians and the King of Pergamon against King Philip V of Macedonia. The Rhodians were first defeated at the naval Battle of Lade in 201 BC. Then Philip V was defeated at sea by the two allies at the Battle of Chios in 201 BC. Rhodes and Pergamon called on the Roman Republic for reinforcements, and Titus Quinctius Flamininus crushed the Macedonian army in Thessaly with the Battle of Cynoscephalae. The Rhodians reportedly dedicated the Victory Monument after that date, for their victory in Chios.Other researchers have considered later occasions: the victory of the Romans at Pydna in 168 BC. over Perseus, or a consecration of the kingdom of Pergamon at the same time, or the victory of Pergamon and Rhodes against Prusias II of Bithynia in 154 BC.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: Describe the characteristics of the Dating in Winged Victory of Samothrace's Function, date and style.

The dedication inscription of the Victory Monument has not been found. Archaeologists are reduced to hypothesizing to define the historical context and to determine the naval victory justifying the erection of such an important ex voto. The difficulty lies in the fact that in the 2nd and 3rd centuries BC naval battles to dominate the Aegean Sea were very numerous, first pitting the Antigonids and their Seleucid allies against the Lagids, then the Seleucids to the Rhodians and Pergamon.Austrian archaeologists first considered that the monument of Samothrace is the one represented on the tetradrachma of Demetrios Poliorcetes. They conclude that, like the coin, he celebrated his victory against Ptolemy I at the Battle of Salamis at Cyprus in 306 BC. According to Benndorf, the Victory of Samothrace therefore dates from the last years of the fourth century BC. and may have been sculpted by a student of sculptor Scopas.The construction of the monument was then related to the Battle of Cos (around 262–255 BC), during which the King of Macedonia Antigonus II Gonatas defeated the Lagids, allied with Athens and Sparta during the Chremonidean War. Antigonus Gonatas is also credited with the dedication, at the same time, of his flagship in the Neorium in Delos.The material of the base of the Victory of Samothrace was identified as early as 1905 as marble from the quarries of Lartos in Rhodes. The same is true of the small fragment found in 1891 by Champoiseau within the walls of the monument to Samothrace, bearing the end of an engraved name: [...]Σ ΡΟΔΙΟΣ. In 1931, Hermann Thiersch restored the name of the sculptor "Pythokritos son of Timocharis of Rhodes", active around 210–165 BC. He was convinced that the fragment belongs to the ship-shaped base: he therefore made this sculptor the author of the Victory of Samothrace. According to him, the monument was commissioned by the Rhodians, allies in the kingdom of Pergamos against Antiochus III, after their victory at the naval battles of Side and Myonnesos, on the Ionian coast, in 190 BC. Excavations revealed that the sculpture was positioned alighting on a flagship, that was set in the ground in a way that it looked as it was floating. The definitive victory against the Seleucids came in 189 BC. at the Battle of Sipyla Magnesia. The monument was therefore reportedly erected in Samothrace shortly after that date. Jean Charbonneaux also admits the historical link between the Victory of Samothrace and the battles of Myonnesus and Magnesia, and makes it the dedication of King Eumene II.Based on the same arguments, Nathan Badoud in 2018 favoured the conflict that earlier pitted the Rhodians and the King of Pergamon against King Philip V of Macedonia. The Rhodians were first defeated at the naval Battle of Lade in 201 BC. Then Philip V was defeated at sea by the two allies at the Battle of Chios in 201 BC. Rhodes and Pergamon called on the Roman Republic for reinforcements, and Titus Quinctius Flamininus crushed the Macedonian army in Thessaly with the Battle of Cynoscephalae. The Rhodians reportedly dedicated the Victory Monument after that date, for their victory in Chios.Other researchers have considered later occasions: the victory of the Romans at Pydna in 168 BC. over Perseus, or a consecration of the kingdom of Pergamon at the same time, or the victory of Pergamon and Rhodes against Prusias II of Bithynia in 154 BC.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: In the context of Winged Victory of Samothrace, explain the Style and workshop and the Function, date and style.

Although the supposed dedication inscription of the name of a Rhodian found at the Victory's base was very quickly contested because of its small size, the entire monument remained attributed to the Rhodian sculpture school. This made it possible to put an end to previous doubts about the style of the statue. In 1955 Margarete Bieber made him a major figure in the "Rhodian school" and the "Hellenic Baroque", next to the frieze of the Gigantomachy of the Great Altar of Pergamon, characterized by the strength of attitudes, the virtuosity of the draperies and the expressiveness of the figures. This style lasted in Rhodes until Roman times in complex and monumental creations such as the Laocoon group or Sperlonga sculptures attributed or signed by Rhodian sculptors.The base blocks and the sculpture of the statue are not by the same hand. The two parts of the monument were designed together, but produced by two different workshops. The marble base of Lartos was certainly made in Rhodes, where there are parallels. Moreover, the Rhodian sculpture in large marble is of high quality, without being exceptional for its time, but there are no parallels for the virtuosity of the Nike, which remains unusual. The sculptor could also come from elsewhere, as was common in the ancient Greek world for great artists. The Victory of Samothrace is a grandiose adaptation of the moving statue of the Athena-Niké of the Cyrene monument: the sculptor added wings, stretched out the front leg to express the flight, and modified the arrangement of the mantle with the floating panel at the back. He thus gave the statue of Samothrace a dynamic that brings it closer to the figures the Gigantomachy of the altar of Pergamon, conceived shortly after in the same spirit.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: Explain the Style and workshop about the Function, date and style of this artwork, Winged Victory of Samothrace.

Although the supposed dedication inscription of the name of a Rhodian found at the Victory's base was very quickly contested because of its small size, the entire monument remained attributed to the Rhodian sculpture school. This made it possible to put an end to previous doubts about the style of the statue. In 1955 Margarete Bieber made him a major figure in the "Rhodian school" and the "Hellenic Baroque", next to the frieze of the Gigantomachy of the Great Altar of Pergamon, characterized by the strength of attitudes, the virtuosity of the draperies and the expressiveness of the figures. This style lasted in Rhodes until Roman times in complex and monumental creations such as the Laocoon group or Sperlonga sculptures attributed or signed by Rhodian sculptors.The base blocks and the sculpture of the statue are not by the same hand. The two parts of the monument were designed together, but produced by two different workshops. The marble base of Lartos was certainly made in Rhodes, where there are parallels. Moreover, the Rhodian sculpture in large marble is of high quality, without being exceptional for its time, but there are no parallels for the virtuosity of the Nike, which remains unusual. The sculptor could also come from elsewhere, as was common in the ancient Greek world for great artists. The Victory of Samothrace is a grandiose adaptation of the moving statue of the Athena-Niké of the Cyrene monument: the sculptor added wings, stretched out the front leg to express the flight, and modified the arrangement of the mantle with the floating panel at the back. He thus gave the statue of Samothrace a dynamic that brings it closer to the figures the Gigantomachy of the altar of Pergamon, conceived shortly after in the same spirit.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: In Winged Victory of Samothrace, how is the Style and workshop of the Function, date and style explained?

Although the supposed dedication inscription of the name of a Rhodian found at the Victory's base was very quickly contested because of its small size, the entire monument remained attributed to the Rhodian sculpture school. This made it possible to put an end to previous doubts about the style of the statue. In 1955 Margarete Bieber made him a major figure in the "Rhodian school" and the "Hellenic Baroque", next to the frieze of the Gigantomachy of the Great Altar of Pergamon, characterized by the strength of attitudes, the virtuosity of the draperies and the expressiveness of the figures. This style lasted in Rhodes until Roman times in complex and monumental creations such as the Laocoon group or Sperlonga sculptures attributed or signed by Rhodian sculptors.The base blocks and the sculpture of the statue are not by the same hand. The two parts of the monument were designed together, but produced by two different workshops. The marble base of Lartos was certainly made in Rhodes, where there are parallels. Moreover, the Rhodian sculpture in large marble is of high quality, without being exceptional for its time, but there are no parallels for the virtuosity of the Nike, which remains unusual. The sculptor could also come from elsewhere, as was common in the ancient Greek world for great artists. The Victory of Samothrace is a grandiose adaptation of the moving statue of the Athena-Niké of the Cyrene monument: the sculptor added wings, stretched out the front leg to express the flight, and modified the arrangement of the mantle with the floating panel at the back. He thus gave the statue of Samothrace a dynamic that brings it closer to the figures the Gigantomachy of the altar of Pergamon, conceived shortly after in the same spirit.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: Describe the characteristics of the Style and workshop in Winged Victory of Samothrace's Function, date and style.

Although the supposed dedication inscription of the name of a Rhodian found at the Victory's base was very quickly contested because of its small size, the entire monument remained attributed to the Rhodian sculpture school. This made it possible to put an end to previous doubts about the style of the statue. In 1955 Margarete Bieber made him a major figure in the "Rhodian school" and the "Hellenic Baroque", next to the frieze of the Gigantomachy of the Great Altar of Pergamon, characterized by the strength of attitudes, the virtuosity of the draperies and the expressiveness of the figures. This style lasted in Rhodes until Roman times in complex and monumental creations such as the Laocoon group or Sperlonga sculptures attributed or signed by Rhodian sculptors.The base blocks and the sculpture of the statue are not by the same hand. The two parts of the monument were designed together, but produced by two different workshops. The marble base of Lartos was certainly made in Rhodes, where there are parallels. Moreover, the Rhodian sculpture in large marble is of high quality, without being exceptional for its time, but there are no parallels for the virtuosity of the Nike, which remains unusual. The sculptor could also come from elsewhere, as was common in the ancient Greek world for great artists. The Victory of Samothrace is a grandiose adaptation of the moving statue of the Athena-Niké of the Cyrene monument: the sculptor added wings, stretched out the front leg to express the flight, and modified the arrangement of the mantle with the floating panel at the back. He thus gave the statue of Samothrace a dynamic that brings it closer to the figures the Gigantomachy of the altar of Pergamon, conceived shortly after in the same spirit.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Venus de Milo

Prompt: Focus on Venus de Milo and explain the abstract.

The Venus de Milo or Aphrodite of Melos 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.  It was rediscovered in 1820 on the island of Milos, Greece, and has been displayed at the Louvre Museum since 1821. Since the statue's discovery, it has become one of the most famous works of ancient Greek sculpture in the world.The Venus de Milo is believed to depict Aphrodite, the Greek goddess of love, whose Roman counterpart was Venus.  Made of Parian marble, the statue is larger than life size, standing over 2 metres (6 ft 7 in) high. The statue is missing both arms. The original position of these missing arms is uncertain. The sculpture was originally identified as depicting Aphrodite holding the apple of discord as a marble hand holding an apple was found alongside it; recent scientific analysis supports the identification of this hand as part of the sculpture. On the basis of a now-lost inscription found near the sculpture, it has been attributed to Alexandros from Antioch on the Maeander, though the name on the inscription is uncertain and its connection to the Venus is disputed.The Venus de Milo rapidly became a cornerstone of the Louvre's antiquities collection in the aftermath of the Napoleonic Wars, and its fame spread through distribution in photographs and three-dimensional copies. The statue inspired over 70 poems, influenced 19th-century art and the Surrealist movement in the early 20th century, and has been featured in various modern artistic projects, including film and advertising. In contrast to the popular appreciation of the sculpture, scholars have been more critical. Though upon its discovery the Venus was considered a classical masterpiece, since it was re-dated to the Hellenistic period classicists have neglected the Venus in favour of studying sculptures mentioned in ancient written sources, even though they only survive as later copies which are technically inferior to the Venus.

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

Charles François de Riffardeau, marquis de Rivière

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander


Venus de Milo

Prompt: Explain the abstract of this artwork, Venus de Milo.

The Venus de Milo or Aphrodite of Melos 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.  It was rediscovered in 1820 on the island of Milos, Greece, and has been displayed at the Louvre Museum since 1821. Since the statue's discovery, it has become one of the most famous works of ancient Greek sculpture in the world.The Venus de Milo is believed to depict Aphrodite, the Greek goddess of love, whose Roman counterpart was Venus.  Made of Parian marble, the statue is larger than life size, standing over 2 metres (6 ft 7 in) high. The statue is missing both arms. The original position of these missing arms is uncertain. The sculpture was originally identified as depicting Aphrodite holding the apple of discord as a marble hand holding an apple was found alongside it; recent scientific analysis supports the identification of this hand as part of the sculpture. On the basis of a now-lost inscription found near the sculpture, it has been attributed to Alexandros from Antioch on the Maeander, though the name on the inscription is uncertain and its connection to the Venus is disputed.The Venus de Milo rapidly became a cornerstone of the Louvre's antiquities collection in the aftermath of the Napoleonic Wars, and its fame spread through distribution in photographs and three-dimensional copies. The statue inspired over 70 poems, influenced 19th-century art and the Surrealist movement in the early 20th century, and has been featured in various modern artistic projects, including film and advertising. In contrast to the popular appreciation of the sculpture, scholars have been more critical. Though upon its discovery the Venus was considered a classical masterpiece, since it was re-dated to the Hellenistic period classicists have neglected the Venus in favour of studying sculptures mentioned in ancient written sources, even though they only survive as later copies which are technically inferior to the Venus.

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

Charles François de Riffardeau, marquis de Rivière

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander


Venus de Milo

Prompt: How does Venus de Milo explain its abstract?

The Venus de Milo or Aphrodite of Melos 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.  It was rediscovered in 1820 on the island of Milos, Greece, and has been displayed at the Louvre Museum since 1821. Since the statue's discovery, it has become one of the most famous works of ancient Greek sculpture in the world.The Venus de Milo is believed to depict Aphrodite, the Greek goddess of love, whose Roman counterpart was Venus.  Made of Parian marble, the statue is larger than life size, standing over 2 metres (6 ft 7 in) high. The statue is missing both arms. The original position of these missing arms is uncertain. The sculpture was originally identified as depicting Aphrodite holding the apple of discord as a marble hand holding an apple was found alongside it; recent scientific analysis supports the identification of this hand as part of the sculpture. On the basis of a now-lost inscription found near the sculpture, it has been attributed to Alexandros from Antioch on the Maeander, though the name on the inscription is uncertain and its connection to the Venus is disputed.The Venus de Milo rapidly became a cornerstone of the Louvre's antiquities collection in the aftermath of the Napoleonic Wars, and its fame spread through distribution in photographs and three-dimensional copies. The statue inspired over 70 poems, influenced 19th-century art and the Surrealist movement in the early 20th century, and has been featured in various modern artistic projects, including film and advertising. In contrast to the popular appreciation of the sculpture, scholars have been more critical. Though upon its discovery the Venus was considered a classical masterpiece, since it was re-dated to the Hellenistic period classicists have neglected the Venus in favour of studying sculptures mentioned in ancient written sources, even though they only survive as later copies which are technically inferior to the Venus.

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

Charles François de Riffardeau, marquis de Rivière

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander


Venus de Milo

Prompt: In Venus de Milo, how is the abstract discussed?

The Venus de Milo or Aphrodite of Melos 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.  It was rediscovered in 1820 on the island of Milos, Greece, and has been displayed at the Louvre Museum since 1821. Since the statue's discovery, it has become one of the most famous works of ancient Greek sculpture in the world.The Venus de Milo is believed to depict Aphrodite, the Greek goddess of love, whose Roman counterpart was Venus.  Made of Parian marble, the statue is larger than life size, standing over 2 metres (6 ft 7 in) high. The statue is missing both arms. The original position of these missing arms is uncertain. The sculpture was originally identified as depicting Aphrodite holding the apple of discord as a marble hand holding an apple was found alongside it; recent scientific analysis supports the identification of this hand as part of the sculpture. On the basis of a now-lost inscription found near the sculpture, it has been attributed to Alexandros from Antioch on the Maeander, though the name on the inscription is uncertain and its connection to the Venus is disputed.The Venus de Milo rapidly became a cornerstone of the Louvre's antiquities collection in the aftermath of the Napoleonic Wars, and its fame spread through distribution in photographs and three-dimensional copies. The statue inspired over 70 poems, influenced 19th-century art and the Surrealist movement in the early 20th century, and has been featured in various modern artistic projects, including film and advertising. In contrast to the popular appreciation of the sculpture, scholars have been more critical. Though upon its discovery the Venus was considered a classical masterpiece, since it was re-dated to the Hellenistic period classicists have neglected the Venus in favour of studying sculptures mentioned in ancient written sources, even though they only survive as later copies which are technically inferior to the Venus.

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

Charles François de Riffardeau, marquis de Rivière

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander


Venus de Milo

Prompt: Focus on Venus de Milo and explain the Description.

The Venus de Milo is an over 2 metres (6 ft 7 in) tall Parian marble statue of a Greek goddess, most likely Aphrodite, depicted with a bare torso and drapery over the lower half of her body.  The figure stands with her weight on her right leg, and the left leg raised; her head is turned to the left. The statue is missing both arms, the left foot, and the earlobes. There is a filled hole below her right breast that originally contained a metal tenon that would have supported the right arm.  The Venus' flesh is polished smooth, but chisel marks are still visible on other surfaces.  The drapery is more elaborately carved on the right-hand side of the statue than the left, perhaps because on the left-hand side it was originally obscured from view.  Likewise the Venus is less finely-finished from behind, suggesting that it was originally intended to be viewed only from the front. While the body of the Venus is depicted in a realistic style, the head is more idealised. The lips are slightly open, the eyes and mouth are small. The sculpture has been minimally restored: only the tip of the nose, lower lip, big toe on the right foot, and some of the drapery.Stylistically, the sculpture combines elements of classical and Hellenistic art. Features such as the small, regular eyes and mouth, and the strong brow and nose, are classical in style, while the shape of the torso and the deeply carved drapery are Hellenistic.Kenneth Clark describes the figure as "the last great work of antique Greece", and "of all the works of antiquity one of the most complex and the most artful. ...[the sculptor] has consciously attempted to give the effect of a 5th-century work", while also using "the inventions of his own time"; "the planes of her body are so large and calm that at first we do not realise the number of angles through which they pass. In architectural terms, she is a baroque composition with classic effect".

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

Charles François de Riffardeau, marquis de Rivière

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander


Venus de Milo

Prompt: Explain the Description of this artwork, Venus de Milo.

The Venus de Milo is an over 2 metres (6 ft 7 in) tall Parian marble statue of a Greek goddess, most likely Aphrodite, depicted with a bare torso and drapery over the lower half of her body.  The figure stands with her weight on her right leg, and the left leg raised; her head is turned to the left. The statue is missing both arms, the left foot, and the earlobes. There is a filled hole below her right breast that originally contained a metal tenon that would have supported the right arm.  The Venus' flesh is polished smooth, but chisel marks are still visible on other surfaces.  The drapery is more elaborately carved on the right-hand side of the statue than the left, perhaps because on the left-hand side it was originally obscured from view.  Likewise the Venus is less finely-finished from behind, suggesting that it was originally intended to be viewed only from the front. While the body of the Venus is depicted in a realistic style, the head is more idealised. The lips are slightly open, the eyes and mouth are small. The sculpture has been minimally restored: only the tip of the nose, lower lip, big toe on the right foot, and some of the drapery.Stylistically, the sculpture combines elements of classical and Hellenistic art. Features such as the small, regular eyes and mouth, and the strong brow and nose, are classical in style, while the shape of the torso and the deeply carved drapery are Hellenistic.Kenneth Clark describes the figure as "the last great work of antique Greece", and "of all the works of antiquity one of the most complex and the most artful. ...[the sculptor] has consciously attempted to give the effect of a 5th-century work", while also using "the inventions of his own time"; "the planes of her body are so large and calm that at first we do not realise the number of angles through which they pass. In architectural terms, she is a baroque composition with classic effect".

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

Charles François de Riffardeau, marquis de Rivière

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander


Venus de Milo

Prompt: How does Venus de Milo explain its Description?

The Venus de Milo is an over 2 metres (6 ft 7 in) tall Parian marble statue of a Greek goddess, most likely Aphrodite, depicted with a bare torso and drapery over the lower half of her body.  The figure stands with her weight on her right leg, and the left leg raised; her head is turned to the left. The statue is missing both arms, the left foot, and the earlobes. There is a filled hole below her right breast that originally contained a metal tenon that would have supported the right arm.  The Venus' flesh is polished smooth, but chisel marks are still visible on other surfaces.  The drapery is more elaborately carved on the right-hand side of the statue than the left, perhaps because on the left-hand side it was originally obscured from view.  Likewise the Venus is less finely-finished from behind, suggesting that it was originally intended to be viewed only from the front. While the body of the Venus is depicted in a realistic style, the head is more idealised. The lips are slightly open, the eyes and mouth are small. The sculpture has been minimally restored: only the tip of the nose, lower lip, big toe on the right foot, and some of the drapery.Stylistically, the sculpture combines elements of classical and Hellenistic art. Features such as the small, regular eyes and mouth, and the strong brow and nose, are classical in style, while the shape of the torso and the deeply carved drapery are Hellenistic.Kenneth Clark describes the figure as "the last great work of antique Greece", and "of all the works of antiquity one of the most complex and the most artful. ...[the sculptor] has consciously attempted to give the effect of a 5th-century work", while also using "the inventions of his own time"; "the planes of her body are so large and calm that at first we do not realise the number of angles through which they pass. In architectural terms, she is a baroque composition with classic effect".

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

Charles François de Riffardeau, marquis de Rivière

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander


Venus de Milo

Prompt: In Venus de Milo, how is the Description discussed?

The Venus de Milo is an over 2 metres (6 ft 7 in) tall Parian marble statue of a Greek goddess, most likely Aphrodite, depicted with a bare torso and drapery over the lower half of her body.  The figure stands with her weight on her right leg, and the left leg raised; her head is turned to the left. The statue is missing both arms, the left foot, and the earlobes. There is a filled hole below her right breast that originally contained a metal tenon that would have supported the right arm.  The Venus' flesh is polished smooth, but chisel marks are still visible on other surfaces.  The drapery is more elaborately carved on the right-hand side of the statue than the left, perhaps because on the left-hand side it was originally obscured from view.  Likewise the Venus is less finely-finished from behind, suggesting that it was originally intended to be viewed only from the front. While the body of the Venus is depicted in a realistic style, the head is more idealised. The lips are slightly open, the eyes and mouth are small. The sculpture has been minimally restored: only the tip of the nose, lower lip, big toe on the right foot, and some of the drapery.Stylistically, the sculpture combines elements of classical and Hellenistic art. Features such as the small, regular eyes and mouth, and the strong brow and nose, are classical in style, while the shape of the torso and the deeply carved drapery are Hellenistic.Kenneth Clark describes the figure as "the last great work of antique Greece", and "of all the works of antiquity one of the most complex and the most artful. ...[the sculptor] has consciously attempted to give the effect of a 5th-century work", while also using "the inventions of his own time"; "the planes of her body are so large and calm that at first we do not realise the number of angles through which they pass. In architectural terms, she is a baroque composition with classic effect".

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

Charles François de Riffardeau, marquis de Rivière

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander


Venus de Milo

Prompt: Focus on Venus de Milo and explain the Discovery.

The Venus de Milo was discovered on 8 April 1820 by a Greek farmer on the island of Milos, then still part of the Ottoman Empire.  Olivier Voutier, a French sailor interested in archaeology, witnessed the discovery and encouraged the farmer to continue digging.  Voutier and the farmer uncovered  two large pieces of the sculpture and a third, smaller piece.  A fragment of an arm, a hand holding an apple, and two herms were also found alongside the statue. Two inscriptions were also apparently found with the Venus. One, transcribed by Dumont D'Urville, a French naval officer who arrived on Milos shortly after the discovery, commemorates a dedication by one Bakchios son of Satios, the assistant gymnasiarch. The other, recorded on a drawing made by Auguste Debay, preserves part of a sculptor's signature.  Both inscriptions are now lost.  Other sculptural fragments found around the same time include a third herm, two further arms, and a foot with sandal.Dumont D'Urville wrote an account of the find.  According to his testimony, the Venus statue was found in a quadrangular niche.  If this findspot were the original context for the Venus, the niche and the gymnasiarch's inscription suggests that the Venus de Milo was installed in the gymnasium of Melos.  An alternative theory proposed by Salomon Reinach is that the findspot was instead the remains of a lime kiln, and that the other fragments had no connection to the Venus; this theory is dismissed by Christofilis Maggidis as having "no factual basis".After stopping in Melos, D'Urville's ship sailed to Constantinople, where he reported the find to the Comte de Marcellus, assistant to Charles François de Riffardeau, marquis de Rivière, the French ambassador. Rivière agreed that Marcellus should go to Melos to buy the statue.  By the time Marcellus arrived at Melos, the farmer who discovered the statue had already received another offer to buy it, and it had been loaded onto a ship; the French intervened and Marcellus was able to buy the Venus.  It was brought to France, where Louis XVIII had it installed in the Louvre. Contrary to the usual practice at the time, on the recommendation of Quatremère de Quincy, the Venus was not significantly restored but was exhibited in the state in which she was discovered.  Quatremère, who believed that the Venus was originally part of a group with a sculpture of Mars, argued that as the entire Mars was missing it was impossible to restore the sculpture.

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander


Venus de Milo

Prompt: Explain the Discovery of this artwork, Venus de Milo.

The Venus de Milo was discovered on 8 April 1820 by a Greek farmer on the island of Milos, then still part of the Ottoman Empire.  Olivier Voutier, a French sailor interested in archaeology, witnessed the discovery and encouraged the farmer to continue digging.  Voutier and the farmer uncovered  two large pieces of the sculpture and a third, smaller piece.  A fragment of an arm, a hand holding an apple, and two herms were also found alongside the statue. Two inscriptions were also apparently found with the Venus. One, transcribed by Dumont D'Urville, a French naval officer who arrived on Milos shortly after the discovery, commemorates a dedication by one Bakchios son of Satios, the assistant gymnasiarch. The other, recorded on a drawing made by Auguste Debay, preserves part of a sculptor's signature.  Both inscriptions are now lost.  Other sculptural fragments found around the same time include a third herm, two further arms, and a foot with sandal.Dumont D'Urville wrote an account of the find.  According to his testimony, the Venus statue was found in a quadrangular niche.  If this findspot were the original context for the Venus, the niche and the gymnasiarch's inscription suggests that the Venus de Milo was installed in the gymnasium of Melos.  An alternative theory proposed by Salomon Reinach is that the findspot was instead the remains of a lime kiln, and that the other fragments had no connection to the Venus; this theory is dismissed by Christofilis Maggidis as having "no factual basis".After stopping in Melos, D'Urville's ship sailed to Constantinople, where he reported the find to the Comte de Marcellus, assistant to Charles François de Riffardeau, marquis de Rivière, the French ambassador. Rivière agreed that Marcellus should go to Melos to buy the statue.  By the time Marcellus arrived at Melos, the farmer who discovered the statue had already received another offer to buy it, and it had been loaded onto a ship; the French intervened and Marcellus was able to buy the Venus.  It was brought to France, where Louis XVIII had it installed in the Louvre. Contrary to the usual practice at the time, on the recommendation of Quatremère de Quincy, the Venus was not significantly restored but was exhibited in the state in which she was discovered.  Quatremère, who believed that the Venus was originally part of a group with a sculpture of Mars, argued that as the entire Mars was missing it was impossible to restore the sculpture.

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander


Venus de Milo

Prompt: How does Venus de Milo explain its Discovery?

The Venus de Milo was discovered on 8 April 1820 by a Greek farmer on the island of Milos, then still part of the Ottoman Empire.  Olivier Voutier, a French sailor interested in archaeology, witnessed the discovery and encouraged the farmer to continue digging.  Voutier and the farmer uncovered  two large pieces of the sculpture and a third, smaller piece.  A fragment of an arm, a hand holding an apple, and two herms were also found alongside the statue. Two inscriptions were also apparently found with the Venus. One, transcribed by Dumont D'Urville, a French naval officer who arrived on Milos shortly after the discovery, commemorates a dedication by one Bakchios son of Satios, the assistant gymnasiarch. The other, recorded on a drawing made by Auguste Debay, preserves part of a sculptor's signature.  Both inscriptions are now lost.  Other sculptural fragments found around the same time include a third herm, two further arms, and a foot with sandal.Dumont D'Urville wrote an account of the find.  According to his testimony, the Venus statue was found in a quadrangular niche.  If this findspot were the original context for the Venus, the niche and the gymnasiarch's inscription suggests that the Venus de Milo was installed in the gymnasium of Melos.  An alternative theory proposed by Salomon Reinach is that the findspot was instead the remains of a lime kiln, and that the other fragments had no connection to the Venus; this theory is dismissed by Christofilis Maggidis as having "no factual basis".After stopping in Melos, D'Urville's ship sailed to Constantinople, where he reported the find to the Comte de Marcellus, assistant to Charles François de Riffardeau, marquis de Rivière, the French ambassador. Rivière agreed that Marcellus should go to Melos to buy the statue.  By the time Marcellus arrived at Melos, the farmer who discovered the statue had already received another offer to buy it, and it had been loaded onto a ship; the French intervened and Marcellus was able to buy the Venus.  It was brought to France, where Louis XVIII had it installed in the Louvre. Contrary to the usual practice at the time, on the recommendation of Quatremère de Quincy, the Venus was not significantly restored but was exhibited in the state in which she was discovered.  Quatremère, who believed that the Venus was originally part of a group with a sculpture of Mars, argued that as the entire Mars was missing it was impossible to restore the sculpture.

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander