Get the Party Started with Crafty Weekend Sales! Featuring: Accessories, Animations/Poses, Avatar Components, Avatar Enhancements, Builds, Clothing, Cosmetics/Nails, Footwear, Hairs, Home and Garden, Skins, Tattoos
Event Opening Date: September 6, 2024
Event Closing Date: September 8, 2024
Pricing: 55L - 99L Items
Crafty Weekend Sales Group
This is an in-store event, please click links in images
www.seraphimsl.com/2024/09/06/get-the-party-started-with-...
Studying Venus Vénus de Milo, 150-125BC
Mélos (Milo)
A statue in several parts
Like many classical statues, the Venus de Milo was carved from separate blocks of Parian marble. The body was sculpted in two parts; the join between the torso and legs is difficult to see, hidden in the drapery at the hips. We know from a mounting hole at the left shoulder that the arms were also carved separately then added to the torso. Other sculptures in the same room show how separately carved blocks were joined together later.*
From Milo to the Louvre
Together with the Mona Lisa and The Winged Victory of Samothrace, the Venus de Milo is one of the three most famous female figures in the Louvre. Her name comes from the Greek island of Melos (now called Milos), where she was found in 1820 and acquired almost immediately by the Marquis de Rivière, the French ambassador to Greece at that time. He then presented her to King Louis XVIII, who donated her to the Louvre in March 1821. In barely two years, the Venus had moved from the shadows to the light.
Aphrodite or Amphitrite?
When she first arrived at the Louvre, it was suggested that her missing arms should be restored, but the idea was eventually abandoned for fear of changing the nature of the work.
The lack of arms made it hard to identify the statue. Many depictions of Greek gods and goddesses contain clues to their identity in the form of ‘attributes’ (objects or natural elements) held in their hands, so this sculpture poses a problem: is she the sea goddess Amphitrite, particularly worshipped on the island of Melos? Or is she Aphrodite, the goddess of beauty, as might be suggested by her sensual, half-naked body? This second argument, and the jewellery she once wore, tipped the scales in favour of Aphrodite (‘Venus’ for the Romans). Another possible clue was found near the statue: a hand holding an apple – an attribute of Aphrodite – carved from the same Parian marble.
The Galerie des Antiques
The Venus de Milo can be admired today in the last of a long series of rooms where she stands in almost solitary splendour. The magnificent red marble decoration dates from the early 19th century and the reign of Napoleon I.
In 1807, the emperor bought the prestigious art collection of his brother-in-law, Prince Camille Borghese. To house the collection, he commissioned the architects Charles Percier and Pierre Fontaine to enlarge the recently created Galerie des Antiques.
Like the first part of the gallery, the new rooms replaced the royal apartments – but Percier and Fontaine changed their layout completely, demolishing partition walls to enlarge the space and adding grey and red marble to set off the whiteness of the statues. The inauguration took place in 1811, ten years before the arrival of the Venus de Milo.
Make way for the goddess!
The Venus de Milo entered the Louvre in 1821 but her location within the museum has been changed several times. Unsurprisingly, she was first placed in the Galerie des Antiques, where she can still be admired today. But a number of questions arose: should she be displayed alone or among other artworks? What kind of base should she stand on and in what kind of setting? Wouldn’t she look better among the paintings in the Grande Galerie? Finally, after almost 200 years, the Venus was returned to the room where she had first been displayed – and now she has pride of place, standing almost alone in the middle of the exhibition space to allow visitors a better view.
To sum up!
The Louvre’s collection of Greek and Roman antiquities was installed little by little. The process began in 1692 when Louis XIV displayed some of his sculptures in the Salle des Cariatides. The year 1798 saw the arrival of other antiquities, confiscated during Napoleon’s military campaigns in Italy. The summer apartments of Anne of Austria were converted to create the Galerie des Antiques. Napoleon I bought the collection of his brother-in-law Prince Camille Borghese in 1807, then had the gallery expanded to include the nearby rooms which now house the Venus de Milo, among other masterpieces.
[*Musee du Louvre]
Taken in the Louvre
The Musee du Louvre, in Louvre Palace (Palais du Louvre)
Built over the Louvre fortress (itself founded by Philip II in 1190), the Louvre Palace was the chief residence of French kings from 1546, under Francis I until 1682, when Louis XIV moved to Versailles. Although Louis moved the household, the royal collection remained in the palace and in 1692 it was joined by the Académie des Inscriptions et Belles-Lettres and the Académie Royale de Peinture et de Sculpture, remaining there for 100 years. The palace became a museum following the French Revolution, at the instruction of the National Assembly, and the Musee du Louvre opened 10 August 1793.
Vénus de Milo Vénus de Milo, 150-125BC
Mélos (Milo)
A statue in several parts
Like many classical statues, the Venus de Milo was carved from separate blocks of Parian marble. The body was sculpted in two parts; the join between the torso and legs is difficult to see, hidden in the drapery at the hips. We know from a mounting hole at the left shoulder that the arms were also carved separately then added to the torso. Other sculptures in the same room show how separately carved blocks were joined together later.*
From Milo to the Louvre
Together with the Mona Lisa and The Winged Victory of Samothrace, the Venus de Milo is one of the three most famous female figures in the Louvre. Her name comes from the Greek island of Melos (now called Milos), where she was found in 1820 and acquired almost immediately by the Marquis de Rivière, the French ambassador to Greece at that time. He then presented her to King Louis XVIII, who donated her to the Louvre in March 1821. In barely two years, the Venus had moved from the shadows to the light.
Aphrodite or Amphitrite?
When she first arrived at the Louvre, it was suggested that her missing arms should be restored, but the idea was eventually abandoned for fear of changing the nature of the work.
The lack of arms made it hard to identify the statue. Many depictions of Greek gods and goddesses contain clues to their identity in the form of ‘attributes’ (objects or natural elements) held in their hands, so this sculpture poses a problem: is she the sea goddess Amphitrite, particularly worshipped on the island of Melos? Or is she Aphrodite, the goddess of beauty, as might be suggested by her sensual, half-naked body? This second argument, and the jewellery she once wore, tipped the scales in favour of Aphrodite (‘Venus’ for the Romans). Another possible clue was found near the statue: a hand holding an apple – an attribute of Aphrodite – carved from the same Parian marble.
The Galerie des Antiques
The Venus de Milo can be admired today in the last of a long series of rooms where she stands in almost solitary splendour. The magnificent red marble decoration dates from the early 19th century and the reign of Napoleon I.
In 1807, the emperor bought the prestigious art collection of his brother-in-law, Prince Camille Borghese. To house the collection, he commissioned the architects Charles Percier and Pierre Fontaine to enlarge the recently created Galerie des Antiques.
Like the first part of the gallery, the new rooms replaced the royal apartments – but Percier and Fontaine changed their layout completely, demolishing partition walls to enlarge the space and adding grey and red marble to set off the whiteness of the statues. The inauguration took place in 1811, ten years before the arrival of the Venus de Milo.
Make way for the goddess!
The Venus de Milo entered the Louvre in 1821 but her location within the museum has been changed several times. Unsurprisingly, she was first placed in the Galerie des Antiques, where she can still be admired today. But a number of questions arose: should she be displayed alone or among other artworks? What kind of base should she stand on and in what kind of setting? Wouldn’t she look better among the paintings in the Grande Galerie? Finally, after almost 200 years, the Venus was returned to the room where she had first been displayed – and now she has pride of place, standing almost alone in the middle of the exhibition space to allow visitors a better view.
To sum up!
The Louvre’s collection of Greek and Roman antiquities was installed little by little. The process began in 1692 when Louis XIV displayed some of his sculptures in the Salle des Cariatides. The year 1798 saw the arrival of other antiquities, confiscated during Napoleon’s military campaigns in Italy. The summer apartments of Anne of Austria were converted to create the Galerie des Antiques. Napoleon I bought the collection of his brother-in-law Prince Camille Borghese in 1807, then had the gallery expanded to include the nearby rooms which now house the Venus de Milo, among other masterpieces.
[*Musee du Louvre]
Taken in the Louvre
The Musee du Louvre, in Louvre Palace (Palais du Louvre)
Built over the Louvre fortress (itself founded by Philip II in 1190), the Louvre Palace was the chief residence of French kings from 1546, under Francis I until 1682, when Louis XIV moved to Versailles. Although Louis moved the household, the royal collection remained in the palace and in 1692 it was joined by the Académie des Inscriptions et Belles-Lettres and the Académie Royale de Peinture et de Sculpture, remaining there for 100 years. The palace became a museum following the French Revolution, at the instruction of the National Assembly, and the Musee du Louvre opened 10 August 1793.
Vénus de Milo Vénus de Milo, 150-125BC
Mélos (Milo)
A statue in several parts
Like many classical statues, the Venus de Milo was carved from separate blocks of Parian marble. The body was sculpted in two parts; the join between the torso and legs is difficult to see, hidden in the drapery at the hips. We know from a mounting hole at the left shoulder that the arms were also carved separately then added to the torso. Other sculptures in the same room show how separately carved blocks were joined together later.*
From Milo to the Louvre
Together with the Mona Lisa and The Winged Victory of Samothrace, the Venus de Milo is one of the three most famous female figures in the Louvre. Her name comes from the Greek island of Melos (now called Milos), where she was found in 1820 and acquired almost immediately by the Marquis de Rivière, the French ambassador to Greece at that time. He then presented her to King Louis XVIII, who donated her to the Louvre in March 1821. In barely two years, the Venus had moved from the shadows to the light.
Aphrodite or Amphitrite?
When she first arrived at the Louvre, it was suggested that her missing arms should be restored, but the idea was eventually abandoned for fear of changing the nature of the work.
The lack of arms made it hard to identify the statue. Many depictions of Greek gods and goddesses contain clues to their identity in the form of ‘attributes’ (objects or natural elements) held in their hands, so this sculpture poses a problem: is she the sea goddess Amphitrite, particularly worshipped on the island of Melos? Or is she Aphrodite, the goddess of beauty, as might be suggested by her sensual, half-naked body? This second argument, and the jewellery she once wore, tipped the scales in favour of Aphrodite (‘Venus’ for the Romans). Another possible clue was found near the statue: a hand holding an apple – an attribute of Aphrodite – carved from the same Parian marble.
The Galerie des Antiques
The Venus de Milo can be admired today in the last of a long series of rooms where she stands in almost solitary splendour. The magnificent red marble decoration dates from the early 19th century and the reign of Napoleon I.
In 1807, the emperor bought the prestigious art collection of his brother-in-law, Prince Camille Borghese. To house the collection, he commissioned the architects Charles Percier and Pierre Fontaine to enlarge the recently created Galerie des Antiques.
Like the first part of the gallery, the new rooms replaced the royal apartments – but Percier and Fontaine changed their layout completely, demolishing partition walls to enlarge the space and adding grey and red marble to set off the whiteness of the statues. The inauguration took place in 1811, ten years before the arrival of the Venus de Milo.
Make way for the goddess!
The Venus de Milo entered the Louvre in 1821 but her location within the museum has been changed several times. Unsurprisingly, she was first placed in the Galerie des Antiques, where she can still be admired today. But a number of questions arose: should she be displayed alone or among other artworks? What kind of base should she stand on and in what kind of setting? Wouldn’t she look better among the paintings in the Grande Galerie? Finally, after almost 200 years, the Venus was returned to the room where she had first been displayed – and now she has pride of place, standing almost alone in the middle of the exhibition space to allow visitors a better view.
To sum up!
The Louvre’s collection of Greek and Roman antiquities was installed little by little. The process began in 1692 when Louis XIV displayed some of his sculptures in the Salle des Cariatides. The year 1798 saw the arrival of other antiquities, confiscated during Napoleon’s military campaigns in Italy. The summer apartments of Anne of Austria were converted to create the Galerie des Antiques. Napoleon I bought the collection of his brother-in-law Prince Camille Borghese in 1807, then had the gallery expanded to include the nearby rooms which now house the Venus de Milo, among other masterpieces.
[*Musee du Louvre]
Taken in the Louvre
The Musee du Louvre, in Louvre Palace (Palais du Louvre)
Built over the Louvre fortress (itself founded by Philip II in 1190), the Louvre Palace was the chief residence of French kings from 1546, under Francis I until 1682, when Louis XIV moved to Versailles. Although Louis moved the household, the royal collection remained in the palace and in 1692 it was joined by the Académie des Inscriptions et Belles-Lettres and the Académie Royale de Peinture et de Sculpture, remaining there for 100 years. The palace became a museum following the French Revolution, at the instruction of the National Assembly, and the Musee du Louvre opened 10 August 1793.
Vénus de Milo Vénus de Milo, 150-125BC
Mélos (Milo)
A statue in several parts
Like many classical statues, the Venus de Milo was carved from separate blocks of Parian marble. The body was sculpted in two parts; the join between the torso and legs is difficult to see, hidden in the drapery at the hips. We know from a mounting hole at the left shoulder that the arms were also carved separately then added to the torso. Other sculptures in the same room show how separately carved blocks were joined together later.*
From Milo to the Louvre
Together with the Mona Lisa and The Winged Victory of Samothrace, the Venus de Milo is one of the three most famous female figures in the Louvre. Her name comes from the Greek island of Melos (now called Milos), where she was found in 1820 and acquired almost immediately by the Marquis de Rivière, the French ambassador to Greece at that time. He then presented her to King Louis XVIII, who donated her to the Louvre in March 1821. In barely two years, the Venus had moved from the shadows to the light.
Aphrodite or Amphitrite?
When she first arrived at the Louvre, it was suggested that her missing arms should be restored, but the idea was eventually abandoned for fear of changing the nature of the work.
The lack of arms made it hard to identify the statue. Many depictions of Greek gods and goddesses contain clues to their identity in the form of ‘attributes’ (objects or natural elements) held in their hands, so this sculpture poses a problem: is she the sea goddess Amphitrite, particularly worshipped on the island of Melos? Or is she Aphrodite, the goddess of beauty, as might be suggested by her sensual, half-naked body? This second argument, and the jewellery she once wore, tipped the scales in favour of Aphrodite (‘Venus’ for the Romans). Another possible clue was found near the statue: a hand holding an apple – an attribute of Aphrodite – carved from the same Parian marble.
The Galerie des Antiques
The Venus de Milo can be admired today in the last of a long series of rooms where she stands in almost solitary splendour. The magnificent red marble decoration dates from the early 19th century and the reign of Napoleon I.
In 1807, the emperor bought the prestigious art collection of his brother-in-law, Prince Camille Borghese. To house the collection, he commissioned the architects Charles Percier and Pierre Fontaine to enlarge the recently created Galerie des Antiques.
Like the first part of the gallery, the new rooms replaced the royal apartments – but Percier and Fontaine changed their layout completely, demolishing partition walls to enlarge the space and adding grey and red marble to set off the whiteness of the statues. The inauguration took place in 1811, ten years before the arrival of the Venus de Milo.
Make way for the goddess!
The Venus de Milo entered the Louvre in 1821 but her location within the museum has been changed several times. Unsurprisingly, she was first placed in the Galerie des Antiques, where she can still be admired today. But a number of questions arose: should she be displayed alone or among other artworks? What kind of base should she stand on and in what kind of setting? Wouldn’t she look better among the paintings in the Grande Galerie? Finally, after almost 200 years, the Venus was returned to the room where she had first been displayed – and now she has pride of place, standing almost alone in the middle of the exhibition space to allow visitors a better view.
To sum up!
The Louvre’s collection of Greek and Roman antiquities was installed little by little. The process began in 1692 when Louis XIV displayed some of his sculptures in the Salle des Cariatides. The year 1798 saw the arrival of other antiquities, confiscated during Napoleon’s military campaigns in Italy. The summer apartments of Anne of Austria were converted to create the Galerie des Antiques. Napoleon I bought the collection of his brother-in-law Prince Camille Borghese in 1807, then had the gallery expanded to include the nearby rooms which now house the Venus de Milo, among other masterpieces.
[*Musee du Louvre]
Taken in the Louvre
The Musee du Louvre, in Louvre Palace (Palais du Louvre)
Built over the Louvre fortress (itself founded by Philip II in 1190), the Louvre Palace was the chief residence of French kings from 1546, under Francis I until 1682, when Louis XIV moved to Versailles. Although Louis moved the household, the royal collection remained in the palace and in 1692 it was joined by the Académie des Inscriptions et Belles-Lettres and the Académie Royale de Peinture et de Sculpture, remaining there for 100 years. The palace became a museum following the French Revolution, at the instruction of the National Assembly, and the Musee du Louvre opened 10 August 1793.
Looking on Venus Vénus de Milo, 150-125BC
Mélos (Milo)
A statue in several parts
Like many classical statues, the Venus de Milo was carved from separate blocks of Parian marble. The body was sculpted in two parts; the join between the torso and legs is difficult to see, hidden in the drapery at the hips. We know from a mounting hole at the left shoulder that the arms were also carved separately then added to the torso. Other sculptures in the same room show how separately carved blocks were joined together later.*
From Milo to the Louvre
Together with the Mona Lisa and The Winged Victory of Samothrace, the Venus de Milo is one of the three most famous female figures in the Louvre. Her name comes from the Greek island of Melos (now called Milos), where she was found in 1820 and acquired almost immediately by the Marquis de Rivière, the French ambassador to Greece at that time. He then presented her to King Louis XVIII, who donated her to the Louvre in March 1821. In barely two years, the Venus had moved from the shadows to the light.
Aphrodite or Amphitrite?
When she first arrived at the Louvre, it was suggested that her missing arms should be restored, but the idea was eventually abandoned for fear of changing the nature of the work.
The lack of arms made it hard to identify the statue. Many depictions of Greek gods and goddesses contain clues to their identity in the form of ‘attributes’ (objects or natural elements) held in their hands, so this sculpture poses a problem: is she the sea goddess Amphitrite, particularly worshipped on the island of Melos? Or is she Aphrodite, the goddess of beauty, as might be suggested by her sensual, half-naked body? This second argument, and the jewellery she once wore, tipped the scales in favour of Aphrodite (‘Venus’ for the Romans). Another possible clue was found near the statue: a hand holding an apple – an attribute of Aphrodite – carved from the same Parian marble.
The Galerie des Antiques
The Venus de Milo can be admired today in the last of a long series of rooms where she stands in almost solitary splendour. The magnificent red marble decoration dates from the early 19th century and the reign of Napoleon I.
In 1807, the emperor bought the prestigious art collection of his brother-in-law, Prince Camille Borghese. To house the collection, he commissioned the architects Charles Percier and Pierre Fontaine to enlarge the recently created Galerie des Antiques.
Like the first part of the gallery, the new rooms replaced the royal apartments – but Percier and Fontaine changed their layout completely, demolishing partition walls to enlarge the space and adding grey and red marble to set off the whiteness of the statues. The inauguration took place in 1811, ten years before the arrival of the Venus de Milo.
Make way for the goddess!
The Venus de Milo entered the Louvre in 1821 but her location within the museum has been changed several times. Unsurprisingly, she was first placed in the Galerie des Antiques, where she can still be admired today. But a number of questions arose: should she be displayed alone or among other artworks? What kind of base should she stand on and in what kind of setting? Wouldn’t she look better among the paintings in the Grande Galerie? Finally, after almost 200 years, the Venus was returned to the room where she had first been displayed – and now she has pride of place, standing almost alone in the middle of the exhibition space to allow visitors a better view.
To sum up!
The Louvre’s collection of Greek and Roman antiquities was installed little by little. The process began in 1692 when Louis XIV displayed some of his sculptures in the Salle des Cariatides. The year 1798 saw the arrival of other antiquities, confiscated during Napoleon’s military campaigns in Italy. The summer apartments of Anne of Austria were converted to create the Galerie des Antiques. Napoleon I bought the collection of his brother-in-law Prince Camille Borghese in 1807, then had the gallery expanded to include the nearby rooms which now house the Venus de Milo, among other masterpieces.
[*Musee du Louvre]
Taken in the Louvre
The Musee du Louvre, in Louvre Palace (Palais du Louvre)
Built over the Louvre fortress (itself founded by Philip II in 1190), the Louvre Palace was the chief residence of French kings from 1546, under Francis I until 1682, when Louis XIV moved to Versailles. Although Louis moved the household, the royal collection remained in the palace and in 1692 it was joined by the Académie des Inscriptions et Belles-Lettres and the Académie Royale de Peinture et de Sculpture, remaining there for 100 years. The palace became a museum following the French Revolution, at the instruction of the National Assembly, and the Musee du Louvre opened 10 August 1793.
Studying Venus Vénus de Milo, 150-125BC
Mélos (Milo)
A statue in several parts
Like many classical statues, the Venus de Milo was carved from separate blocks of Parian marble. The body was sculpted in two parts; the join between the torso and legs is difficult to see, hidden in the drapery at the hips. We know from a mounting hole at the left shoulder that the arms were also carved separately then added to the torso. Other sculptures in the same room show how separately carved blocks were joined together later.*
From Milo to the Louvre
Together with the Mona Lisa and The Winged Victory of Samothrace, the Venus de Milo is one of the three most famous female figures in the Louvre. Her name comes from the Greek island of Melos (now called Milos), where she was found in 1820 and acquired almost immediately by the Marquis de Rivière, the French ambassador to Greece at that time. He then presented her to King Louis XVIII, who donated her to the Louvre in March 1821. In barely two years, the Venus had moved from the shadows to the light.
Aphrodite or Amphitrite?
When she first arrived at the Louvre, it was suggested that her missing arms should be restored, but the idea was eventually abandoned for fear of changing the nature of the work.
The lack of arms made it hard to identify the statue. Many depictions of Greek gods and goddesses contain clues to their identity in the form of ‘attributes’ (objects or natural elements) held in their hands, so this sculpture poses a problem: is she the sea goddess Amphitrite, particularly worshipped on the island of Melos? Or is she Aphrodite, the goddess of beauty, as might be suggested by her sensual, half-naked body? This second argument, and the jewellery she once wore, tipped the scales in favour of Aphrodite (‘Venus’ for the Romans). Another possible clue was found near the statue: a hand holding an apple – an attribute of Aphrodite – carved from the same Parian marble.
The Galerie des Antiques
The Venus de Milo can be admired today in the last of a long series of rooms where she stands in almost solitary splendour. The magnificent red marble decoration dates from the early 19th century and the reign of Napoleon I.
In 1807, the emperor bought the prestigious art collection of his brother-in-law, Prince Camille Borghese. To house the collection, he commissioned the architects Charles Percier and Pierre Fontaine to enlarge the recently created Galerie des Antiques.
Like the first part of the gallery, the new rooms replaced the royal apartments – but Percier and Fontaine changed their layout completely, demolishing partition walls to enlarge the space and adding grey and red marble to set off the whiteness of the statues. The inauguration took place in 1811, ten years before the arrival of the Venus de Milo.
Make way for the goddess!
The Venus de Milo entered the Louvre in 1821 but her location within the museum has been changed several times. Unsurprisingly, she was first placed in the Galerie des Antiques, where she can still be admired today. But a number of questions arose: should she be displayed alone or among other artworks? What kind of base should she stand on and in what kind of setting? Wouldn’t she look better among the paintings in the Grande Galerie? Finally, after almost 200 years, the Venus was returned to the room where she had first been displayed – and now she has pride of place, standing almost alone in the middle of the exhibition space to allow visitors a better view.
To sum up!
The Louvre’s collection of Greek and Roman antiquities was installed little by little. The process began in 1692 when Louis XIV displayed some of his sculptures in the Salle des Cariatides. The year 1798 saw the arrival of other antiquities, confiscated during Napoleon’s military campaigns in Italy. The summer apartments of Anne of Austria were converted to create the Galerie des Antiques. Napoleon I bought the collection of his brother-in-law Prince Camille Borghese in 1807, then had the gallery expanded to include the nearby rooms which now house the Venus de Milo, among other masterpieces.
[*Musee du Louvre]
Taken in the Louvre
The Musee du Louvre, in Louvre Palace (Palais du Louvre)
Built over the Louvre fortress (itself founded by Philip II in 1190), the Louvre Palace was the chief residence of French kings from 1546, under Francis I until 1682, when Louis XIV moved to Versailles. Although Louis moved the household, the royal collection remained in the palace and in 1692 it was joined by the Académie des Inscriptions et Belles-Lettres and the Académie Royale de Peinture et de Sculpture, remaining there for 100 years. The palace became a museum following the French Revolution, at the instruction of the National Assembly, and the Musee du Louvre opened 10 August 1793.
Venus in the Light Vénus de Milo, 150-125BC
Mélos (Milo)
A statue in several parts
Like many classical statues, the Venus de Milo was carved from separate blocks of Parian marble. The body was sculpted in two parts; the join between the torso and legs is difficult to see, hidden in the drapery at the hips. We know from a mounting hole at the left shoulder that the arms were also carved separately then added to the torso. Other sculptures in the same room show how separately carved blocks were joined together later.*
From Milo to the Louvre
Together with the Mona Lisa and The Winged Victory of Samothrace, the Venus de Milo is one of the three most famous female figures in the Louvre. Her name comes from the Greek island of Melos (now called Milos), where she was found in 1820 and acquired almost immediately by the Marquis de Rivière, the French ambassador to Greece at that time. He then presented her to King Louis XVIII, who donated her to the Louvre in March 1821. In barely two years, the Venus had moved from the shadows to the light.
Aphrodite or Amphitrite?
When she first arrived at the Louvre, it was suggested that her missing arms should be restored, but the idea was eventually abandoned for fear of changing the nature of the work.
The lack of arms made it hard to identify the statue. Many depictions of Greek gods and goddesses contain clues to their identity in the form of ‘attributes’ (objects or natural elements) held in their hands, so this sculpture poses a problem: is she the sea goddess Amphitrite, particularly worshipped on the island of Melos? Or is she Aphrodite, the goddess of beauty, as might be suggested by her sensual, half-naked body? This second argument, and the jewellery she once wore, tipped the scales in favour of Aphrodite (‘Venus’ for the Romans). Another possible clue was found near the statue: a hand holding an apple – an attribute of Aphrodite – carved from the same Parian marble.
The Galerie des Antiques
The Venus de Milo can be admired today in the last of a long series of rooms where she stands in almost solitary splendour. The magnificent red marble decoration dates from the early 19th century and the reign of Napoleon I.
In 1807, the emperor bought the prestigious art collection of his brother-in-law, Prince Camille Borghese. To house the collection, he commissioned the architects Charles Percier and Pierre Fontaine to enlarge the recently created Galerie des Antiques.
Like the first part of the gallery, the new rooms replaced the royal apartments – but Percier and Fontaine changed their layout completely, demolishing partition walls to enlarge the space and adding grey and red marble to set off the whiteness of the statues. The inauguration took place in 1811, ten years before the arrival of the Venus de Milo.
Make way for the goddess!
The Venus de Milo entered the Louvre in 1821 but her location within the museum has been changed several times. Unsurprisingly, she was first placed in the Galerie des Antiques, where she can still be admired today. But a number of questions arose: should she be displayed alone or among other artworks? What kind of base should she stand on and in what kind of setting? Wouldn’t she look better among the paintings in the Grande Galerie? Finally, after almost 200 years, the Venus was returned to the room where she had first been displayed – and now she has pride of place, standing almost alone in the middle of the exhibition space to allow visitors a better view.
To sum up!
The Louvre’s collection of Greek and Roman antiquities was installed little by little. The process began in 1692 when Louis XIV displayed some of his sculptures in the Salle des Cariatides. The year 1798 saw the arrival of other antiquities, confiscated during Napoleon’s military campaigns in Italy. The summer apartments of Anne of Austria were converted to create the Galerie des Antiques. Napoleon I bought the collection of his brother-in-law Prince Camille Borghese in 1807, then had the gallery expanded to include the nearby rooms which now house the Venus de Milo, among other masterpieces.
[*Musee du Louvre]
Taken in the Louvre
The Musee du Louvre, in Louvre Palace (Palais du Louvre)
Built over the Louvre fortress (itself founded by Philip II in 1190), the Louvre Palace was the chief residence of French kings from 1546, under Francis I until 1682, when Louis XIV moved to Versailles. Although Louis moved the household, the royal collection remained in the palace and in 1692 it was joined by the Académie des Inscriptions et Belles-Lettres and the Académie Royale de Peinture et de Sculpture, remaining there for 100 years. The palace became a museum following the French Revolution, at the instruction of the National Assembly, and the Musee du Louvre opened 10 August 1793.
Vénus de Milo Vénus de Milo, 150-125BC
Mélos (Milo)
A statue in several parts
Like many classical statues, the Venus de Milo was carved from separate blocks of Parian marble. The body was sculpted in two parts; the join between the torso and legs is difficult to see, hidden in the drapery at the hips. We know from a mounting hole at the left shoulder that the arms were also carved separately then added to the torso. Other sculptures in the same room show how separately carved blocks were joined together later.*
From Milo to the Louvre
Together with the Mona Lisa and The Winged Victory of Samothrace, the Venus de Milo is one of the three most famous female figures in the Louvre. Her name comes from the Greek island of Melos (now called Milos), where she was found in 1820 and acquired almost immediately by the Marquis de Rivière, the French ambassador to Greece at that time. He then presented her to King Louis XVIII, who donated her to the Louvre in March 1821. In barely two years, the Venus had moved from the shadows to the light.
Aphrodite or Amphitrite?
When she first arrived at the Louvre, it was suggested that her missing arms should be restored, but the idea was eventually abandoned for fear of changing the nature of the work.
The lack of arms made it hard to identify the statue. Many depictions of Greek gods and goddesses contain clues to their identity in the form of ‘attributes’ (objects or natural elements) held in their hands, so this sculpture poses a problem: is she the sea goddess Amphitrite, particularly worshipped on the island of Melos? Or is she Aphrodite, the goddess of beauty, as might be suggested by her sensual, half-naked body? This second argument, and the jewellery she once wore, tipped the scales in favour of Aphrodite (‘Venus’ for the Romans). Another possible clue was found near the statue: a hand holding an apple – an attribute of Aphrodite – carved from the same Parian marble.
The Galerie des Antiques
The Venus de Milo can be admired today in the last of a long series of rooms where she stands in almost solitary splendour. The magnificent red marble decoration dates from the early 19th century and the reign of Napoleon I.
In 1807, the emperor bought the prestigious art collection of his brother-in-law, Prince Camille Borghese. To house the collection, he commissioned the architects Charles Percier and Pierre Fontaine to enlarge the recently created Galerie des Antiques.
Like the first part of the gallery, the new rooms replaced the royal apartments – but Percier and Fontaine changed their layout completely, demolishing partition walls to enlarge the space and adding grey and red marble to set off the whiteness of the statues. The inauguration took place in 1811, ten years before the arrival of the Venus de Milo.
Make way for the goddess!
The Venus de Milo entered the Louvre in 1821 but her location within the museum has been changed several times. Unsurprisingly, she was first placed in the Galerie des Antiques, where she can still be admired today. But a number of questions arose: should she be displayed alone or among other artworks? What kind of base should she stand on and in what kind of setting? Wouldn’t she look better among the paintings in the Grande Galerie? Finally, after almost 200 years, the Venus was returned to the room where she had first been displayed – and now she has pride of place, standing almost alone in the middle of the exhibition space to allow visitors a better view.
To sum up!
The Louvre’s collection of Greek and Roman antiquities was installed little by little. The process began in 1692 when Louis XIV displayed some of his sculptures in the Salle des Cariatides. The year 1798 saw the arrival of other antiquities, confiscated during Napoleon’s military campaigns in Italy. The summer apartments of Anne of Austria were converted to create the Galerie des Antiques. Napoleon I bought the collection of his brother-in-law Prince Camille Borghese in 1807, then had the gallery expanded to include the nearby rooms which now house the Venus de Milo, among other masterpieces.
[*Musee du Louvre]
Taken in the Louvre
The Musee du Louvre, in Louvre Palace (Palais du Louvre)
Built over the Louvre fortress (itself founded by Philip II in 1190), the Louvre Palace was the chief residence of French kings from 1546, under Francis I until 1682, when Louis XIV moved to Versailles. Although Louis moved the household, the royal collection remained in the palace and in 1692 it was joined by the Académie des Inscriptions et Belles-Lettres and the Académie Royale de Peinture et de Sculpture, remaining there for 100 years. The palace became a museum following the French Revolution, at the instruction of the National Assembly, and the Musee du Louvre opened 10 August 1793.
and Action .. virtual Camera on thank you so much Mona for your for choosing my image as cover to your awesome group and your continuous support
ᥲᥒd Aᥴtιoᥒ ... vιrtᥙᥲᥣ Cᥲmᥱrᥲ oᥒ シ
www.flickr.com/groups/14786201@N21/
Mona sept 2024
Leaf Through the Best Deals at G.O.A.T66! Featuring: Accessories, Animations/Poses, Avatar Enhancements, Builds, Clothing, Cosmetics/Nails, Footwear, Home and Garden, Tattoos
Event Opening Date: September 06, 2024
Event Closing Date: September 11, 2024
Pricing: 66L - 96L Items
G.O.A.T66 Weekly Sale Group
MIA: Kokoro, SG
This is an in-store event, please click links in images
www.seraphimsl.com/2024/09/06/leaf-through-the-best-deals...
Get the Party Started with Crafty Weekend Sales! Featuring: Accessories, Animations/Poses, Avatar Components, Avatar Enhancements, Builds, Clothing, Cosmetics/Nails, Footwear, Hairs, Home and Garden, Skins, Tattoos
Event Opening Date: September 6, 2024
Event Closing Date: September 8, 2024
Pricing: 55L - 99L Items
Crafty Weekend Sales Group
This is an in-store event, please click links in images
www.seraphimsl.com/2024/09/06/get-the-party-started-with-...
Mona, Museum Tasmània, AUSTRÀLIA 2023
Mona, Museum Tasmània, AUSTRÀLIA 2023
Mona, Museum Tasmània, AUSTRÀLIA 2023
Mona_6589 53975548373_1f4d127c61_b
IMG-20240906-WA0007 Mona and Günter. A work of art printed on matt aluminum. The template was a cell phone photo that was artistically realized on the Apple computer by a great artist.
Mona und Günter. Ein Kunstwerk auf mattem Alu gedruckt. Die Vorlage war ein Handy Foto, das künstlerisch am Apple Computer von einer Großartigen Künstlerin umgesetzt wurde.
Cover for Group Rules Thank you very much Mona,for the cover!
www.flickr.com/groups/14807796@N21/pool/
Mona Lisa at The Lume 53975372350_a6fcd2212e_b
♛2073♛ ♛Head♛ LeLutka Avalon Evo X
♛Skin ♛[coconut.] Aiko Skin / Icy Tone@Kawaii Secrets
♛Lips♛ Lexa - Caramel Gloss Lelutka Evox@Level Event
♛Nacklace♛ VOBE - Dina Necklace
♛Outfit♛ .BF. Mona Outfit FATPACK@Fameshed
☛Credits☚
Mona Lisa 53974289290_33189d2511_b
1920 George Martin Kober TB Assoc pres. Mona Laurent and Calvin Coolidge plus two others at Xmas Seals presentation001 1920 George Martin Kober TB Assoc pres. Mona Laurent and Calvin Coolidge Xmas Seals presentation Clipping plus two other unknown gents. (let us know if you can identify them)
1920 George Martin Kober TB Assoc pres. Mona Laurent and Calvin Coolidge Xmas Seals presentation Clipping002 1920 George Martin Kober TB Assoc pres. Mona Laurent and Calvin Coolidge Xmas Seals presentation Clipping
1920 George Martin Kober TB Assoc pres. Mona Laurent and Calvin Coolidge Xmas Seals presentationCropped 53974062119_b568133638_b