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The Aphrodite of Knidos (or Cnidus) was an Ancient Greek sculpture of the goddess Aphrodite created by Praxiteles of Athens around the 4th century BC. It was one of the first life-sized representations of the nude female form in Greek history, displaying an alternative idea to male heroic nudity .
The Colonna Venus is a Roman marble copy of the lost Aphrodite of Cnidus sculpture by Praxiteles, conserved in the Museo Pio-Clementino as a part of the Vatican Museums' collections. It is now the best-known and perhaps most faithful Roman copy of Praxiteles's original.
Medallion representing Praxiteles. Praxiteles (/ p r æ k ˈ s ɪ t ɪ l iː z /; Greek: Πραξιτέλης) of Athens, the son of Cephisodotus the Elder, was the most renowned of the Attic sculptors of the 4th century BC. He was the first to sculpt the nude female form in a life-size statue.
The Temple of Aphrodite Euploia was a sanctuary in ancient Knidos (Modern day Datça Turkey) dedicated to the goddess Aphrodite. It was a famous pilgrimage, known for hosting the famous statue of Aphrodite of Knidos .
Phryne was the model for two of the great artists of classical Greece, Praxiteles and Apelles. She is most famously associated with Praxiteles' Aphrodite of Knidos, [54] the first three-dimensional and monumentally sized female nude in ancient Greek art. [55] However, the only source for this association is Athenaeus.
Knidos sundial. The agora, the theatre, an odeum, a temple of Dionysus, a temple of the Muses, a temple of Aphrodite [10] and a great number of minor buildings have been identified, and the general plan of the city has been very clearly made out. The most famous statue by Praxiteles, the Aphrodite of Knidos, was made for Cnidus.
Praxiteles: Aphrodite Braschi, version of the Aphrodite of Knidos, Roman copy. Munich Glyptothek The emphasis on naturalism in statues also gave rise to consequences in the affective realm.
Praxiteles' Aphrodite of Knidos, which survives in copies, was often referenced to and praised by Pliny the Elder. Lysistratus is said to have been the first to use plaster molds taken from living people to produce lost-wax portraits, and to have also developed a technique of casting from existing statues.