Paleolithic Venuses
1.) Discuss the meaning of the Paleolithic Venuses. Identify Rice's position and explain it. Discuss four other interpretations of these figurines mentioned in class or in the reading. Do any or all of these interpretations support the views of the 19th century evolutionist Johann Jakob Bachofen?
Paleolithic Venuses are prehistoric sculptures that are traditionally thought, by experts to be images that adore and glorify female fertility. There are three reasons why most historians who study the Paleolithic era support this traditional idea. One, most analysts only use a sampling of the 188 figurines and most of them are pregnant. Secondly, the name Venus itself conjures up the notion of fertility. Thirdly, most analysts assume that during the Paleolithic era that childbearing was something that was sacred and thus needing to be glorified with a statue. Rice offers an alternative point of view of the motivation for the creation of the Paleolithic Venuses. Rice's position on Paleolithic Venuses is that they do not solely represent women's fertility, but instead symbolize womanhood.
Rice's position is based on her study of the Paleolithic Venuses and the Paleolithic society itself. In her study, she examined all 188 figurines. First she identified five body attributes; hips, stomach, breasts, faces, and buttocks. After Rice identified these features, she categorized them into three groups: young, which are women who are pre-reproductive. Two, "middle" which are women who are reproductive. In this category she subdivided this group into two types, pregnant and non-pregnant. Finally, the third group are "old" or the post-reproductive women.
Four raters were trained to use these five attributes to det...
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...brought upon an enormous change in the sense that they no longer had such a strong same sex solidarity. Also, the husband helps more around the house. Murphy argues that the women like this better because they get help from the men. Economically in the Savannah, the women were the main providers. However, because the men did business with the traders, they became the main provides when the society settled near the river. As a result, women became more subservient. Women were helps, and the leading consumers. The Mundurucu religion in the Savannah villages was non-existent in the river communities. In the Savannah, the big ritual center was the man's house. The Mundurucu became Catholic which limited the power women could have in religion. Since their settlement to the river, their society became more modernized in comparison to the remainder of the western world.
The Woman from Willendorf, just as the name suggest was discovered in Willendorf, Austria in 1908 during an archeological excavation of the area. The small figurine is heavily regarded as one of the most important Paleolithic discoveries. Carved in the round from limestone the figure the figure is undeniably female with it’s exaggerated features. Some of the most recognizable features of the rounded figure include the large pendulous breast, the
Venus is a term that has long been associated with artwork, most specifically the classical forms of beautiful women. The term Venus has also come to represent female sculptures of the Paleolithic era. The most notable of these female sculptures is the Venus of Willendorf, 24,000-22,000 BCE. The age of the figurine has been changed several times. Originally when found the date was estimated to be 15,000 to 10,000 BCE. During the 1970’s the time period was adjusted to 25,000 to 20,000 BCE; the date was again recalculated in the 1980’s to 30,000 to 25,000 BCE; the most recent estimate of age was in the 1990’s and was placed at 24,000 to 22,000 BCE after scientific research was performed on the rock stratification. This statuette was discovered by Josef Szombathy in 1908 near the town of Willendorf, Austria, in an Aurignacian loess deposit, which loosely defined is a yellow brown loamy geological deposit dating to the Paleolithic period. The name Venus was first associated with the figurine as a joke. The small, crudely carved statuette of an obese woman contrasts heavily from the graceful classical forms of sculpture such as Aphrodite of Cnidos, Praxiteles, 350 BCE. Although it would be difficult to associate the word beautiful with this statuette, there can be no doubt that it reflects the female form. The statuette has also been known as “la poire” or “the pear” due to its size and shape and more recently was donned the Woman from Willendorf. The removal of the title Venus served to take away the figurine’s status of goddess and lower it to the human level, therefore allowing more consideration of the figurine’s purpose (Witcombe, sec. 3).
The statue titled, Torso of Venus, was a replica of the original work by Praxiteles. The Romans made the sculpture in 1st or 2nd century AD during the time of the Late Antiquity period; more specifically known as the Pre-Constantine period. Like the original, the statue was made out of marble. The Torso of Venus is a statue of the goddess Venus, known commonly as the goddess of love and beauty. It was said that she was born, or emerged, from the sea foam. Venus, or Aphrodite to the Greeks, was the embodiment of beauty, sexuality, love and fertility. I believe the Torso of Venus was the Roman version of “Aphrodite of Knidos”, which was one of the most famous works of the ancient Greek sculptor Praxiteles of Athens in the 4th century BC.
“Venus is the Roman goddess, whose functions encompassed love, beauty, sex, fertility, prosperity and desire,” one of Botticelli’s most appreciated artworks ("Venus (mythology)"). In “The Birth of Venus,” Venus is portrayed naked on a giant shell near the seashore; on her left the winds blow gently fondling her hair with a shower of flowers, on her right a handmaid (Ora) waits for the goddess to go closer to dress her shy body. Venus seems to be shy about her nude body because of the body language she shows; her gentle, long arm awkwardly covers her breasts while her long hangs down over her women hood. The oceans horizontal line in the background makes the painting so much more peaceful. The shells shadow reflects onto the ocean, but everything else is bright which represents value. “The Birth of Venus” is a positive portrait due to the fact that the colors are bright and everyone comes forward making the ocean background. The three sections that come forward in the painting are on the left, the guy and girl flying and blowing wind, in the middle Venus on the shell, and on the right the lady along the seashore and land come forward. Although the everyone in the painting comes forward the painting is still a two-dimensional portrait. The texture of the painting seems to be soft and smooth due the
Venus of Willendorf is a very popular Paleolithic art. The artist made the sculpture to represent what was going on during those times. I also think it gives off a representation of power for women, and being a strong woman. Fertility is one of the most powerful things about a woman and I also think that it could possibly signify confidence. That is why she could be made in the nude as well. Although nobody knows the facts of what the actual prehistoric art means, we can use our analysis to figure out the point the artist was trying to
It is determined the Antonine Woman as Venus is a woman of aristocratic status. The portrait is made of fine-grain marble, a medium only upper-class persons could afford. Also, only persons of wealth could afford to have such a protrait made. The woman is portrayed as Venus, a goddess who is connected to the imperial family, and members of a royal family would often have themselves depicted as a deity. (De Puma 26) We know she is being portrayed as Venus because of her bare breast and the upper-arm ring. The bare breast is a key to Venus because she is the goddess of sexuality and desirability. The upper arm ring can be an attribute of Venus as the Statue of Aphrodite (Venus) by Praxiletels displays the same jewelry on a nude body. (Fantham 175)
The Venus of Willendorf is one of the earliest sculptures of the body made by humans during the Paleolithic era. She was made from limestone native to her location and covered with red orche. Despite standing only 4.4 inches, the purpose of the Venus of Willendorf is widely debated. Some will say the exaggerated breasts, navel, and vulva connects her to fertility as a representation of a mother goddess. Others, such as those in my class, believe her to be a figure of body image. The stumpy female figure features hanging breasts, an obese middle and belly, and distinct buttocks in all, represents a realistic form of a severely overweight woman. Due to the hash ice-age environment of where she’s from leads one to believe fatness and fertility would have been highly desirable. Whether the sculpture was based on a fantasy or a real life model the infatuations with the idea of self-acceptance through body
Long, J.C., (2008). Botticelli’s Birth of Venus as wedding painting. Aurora, The Journal of the History of Art, 9, p.1. ISSN 1527-652X.
The Venus of Willendorf and the Venus de Milo are two ancient day venus sculptures representing two different views on beauty. The Venus of Willendorf is a small 4.5 inch limestone figure of a Goddess which is believed to be used as a fertility symbol, while the Venus de Milo is a tall ancient Greek statue of a Goddess which is said to represent love and beauty. The Venus of Willendorf’s body structure is very different than that of Venus de Milo. The venus of Willendorf appears to be a short lady with a large emphasis on her reproductive organs, breasts and stomach area whereas the Venus de Milo appears to be very tall with smaller breasts, and a really athletic build. She appears to have abs and looks as if she has not had children before, while the Venus of Willendorf looks like she has had children due to her huge breasts and stretched out belly button. The Venus
orbit is the most circular of any planet, with an eccentricy of less than 1%.
Certain parts of her body are heavily exaggerated; she has overly huge breast, her stomach is large and as well as her butt. She appears to be smooth and her parts of her body I would consider to be very symmetrical. The artist that created her has chosen to exaggerate her breast and make them appear large and full. As well as they have done with her stomach, by making it appear overly large and to symbolize fertility or a late stage of pregnancy for women. The artist carriers, this plumpness and roundness of the female figure throughout out the stature. The artist has demonstrated plumpness of the female figure through her legs and carries it to her back side as well. The one aspect of this figure the artist had heavily rendered in detail, is the figures female genitalia. The genitalia is heavily rendered to show a female reproductive organs. It’s this aspect of the sculptural nature that makes me think that the artist had created her for fertility reasons.
Venus in Botticelli's painting is a Renaissance beauty. During the Renaissance women were believed to look more attractive if they had some weight to them. It was believed that this weight make them more prepared for child birth, and basically healthier. Venus has weight in the painting. Without this weight I do not feel that she would have such a strong impact on her viewers. Another strong point of Venus's presence is her wonderful long and flowing red-orange hair. It flows around her body keeping her pose modest, yet revealing. In all of this beauty it can be easy to overlook the unnatural length of Venus's neck, and the steep fall of her shoulders. Venus's outline is wonderfully graceful, and it is the grace that makes the print so wholesome and beautiful. If Botticelli would have chosen a slimmer or less natural Venus the harmony of the picture would have been destroyed.
The curator begins by describing the various roles that women partook, which forms the basis of the theme that is presented in the piece of art. The curator also gives a story of the various women in history that had various contrasting roles in religion (Blundell & Williamson). The images accompanying the description of the curator also helps one in understanding the exhibit deeply. Through the images, I am able to appreciate the importance of visual experience and the vivid description given by the curator expands my understanding of artwork. Medusa, Mary Magdalene and the female bush spirit that existed before the 1400CE era, are some of the women that are included in the curator’s narration (The Sacred Feminine). Consequently, the method used by the curator to give the story about the theme is
Botticelli depicts Venus standing a relaxing pose with long golden wavy hair that falls to her knees skin blemish free and pale as the seafoam she’s born from with one hand (right) gently placed over her right breast she uses the other (left) grasping for
The men that come to Umuofia destroy the cultural balance of faith and religion that encompasses the native people in Africa. People in Umuofia depend strongly on the ancestors and gods in their culture. It is their tradition and their beginning, from which they govern their lives. Even the priestess that serves the god Agbala, "...was full of the power of her god, and she was greatly feared" (16). Without the stronghold of customs and traditions, only chaos exists. Peace, trust, and knowledge are thrown off when the new religion of Christianity is introduced. When the missionary explains that: