The Aphrodite of Knidos - The BEST COLLECTION of PODCASTS and YOUTUBE VIDEOS for
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01. [ ENGLISH ] The Aphrodite of Knidos - The BEST COLLECTION of PODCASTS and YOUTUBE VIDEOS for.
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Aphrodite of Knidos (Ancient Art Podcast 26)
Lucas Livingston
Published on Nov 28, 2009
Keeping our promise from last episode, episode 26 explores the history, artistry, and mythology of the famous Hellenistic sculpture, the Aphrodite of Knidos by Praxiteles. Using the words of ancient authors like Hesiod, Pliny the Elder, and others, we examine multiple copies of the sculpture, including the Vaticans Colonna Venus, the Uffizis Venus de' Medici, the Aphrodite Braschi of the Munich Glyptothek, and an example from the Art Institute of Chicago. We also expose the misnomer of the Roman copy of an original Greek sculpture. And well round things out with some modern revisionist theories on the sexuality of Aphrodite. See past episodes, image galleries, credits, transcripts, and additional resources athttp://ancientartpodcast.org. Connect at http://twitter.com/lucaslivingston andhttp://www.facebook.com/ancientartpod....
duration 09:58 minutes
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Smarthistory. art, history, conversation.
Published on Apr 5, 2016
Capitoline Venus, 2nd century C.E., marble, 193 cm (Capitoline Museums, Rome) (Roman copy of the Aphrodite of Knidos, a 4th century B.C.E. Greek original by Praxiteles) Speakers: Dr. Beth Harris and Dr. Steven Zucker. More art history videos on smarthistory.org.
duration 03:56 minutes
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Art History 101
Published on Sep 18, 2017
A brief discussion of the Aphrodite of Knidos.
duration 06:15 minutes
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Faces of Ancient Europe
Published on Oct 18, 2017
Tradition has it that when he created the Aphrodite of Cnidus in the 4th century BC, Praxiteles drew inspiration from the beautiful Phryne, a famous hetaira in ancient Athens and probably a lover of his.
Unfortunately, since some assumed Praxiteles was not the only man to be so deeply touched by the courtesan’s beauty, Phryne was accused of impiety and brought to court.
Jurist and historian Eva Cantarella has noted, “In her case, the violation seems to have been a kind of very banal behavior: a simple swim in the sea, apparently in Eleusis, near the Temple of Poseidon. Before going into the water, she dared to take her clothes off, bearing a body of such beauty that – according to the legend – Apelles, when he saw her, was inspired to paint his Venus ‘Rising from the Sea’ (or ‘anadyomene’).”
During her trial, Phryne was defended by the orator Hypereides, who was also completely in love with her and, according to Cantarella, “would go down in history for the proof he gave of his talent: seeing Phryne’s complicated position, he produced a real ‘coup de théâtre’ and tore the dress off his client. Seeing her incredible beauty with their own eyes, the jury could not help but acquit her of all charges” (translated from E. Cantarella, “I supplizi capitali. Origine e funzioni delle pene di morte in Grecia e a Roma”, Feltrinelli, Milan 2011).
With such model, we can start to understand how Pliny the Elder could state, in his “Naturalis historia”, “the Venus by Praxiteles stands out not only among his statues, but among the statues of the whole world: many have traveled by ship to Cnidus just to see it.”
Not Without the Rest by Twin Musicom is licensed under a Creative Commons Attribution license (https://creativecommons.org/licenses/...)
Artist: http://www.twinmusicom.org/
duration 01:19 minutes
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Sebastian Daugaard
Published on Sep 13, 2012
Skolesjams
duration 02:29 minutes
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ΝΑΥΣΙΝΟΟΣ - NAUSINOUS - ΑΔΡΙΑΝΟΣ ΜΠΕΖΟΥΓΛΩΦ
Published on Jun 11, 2017
ΝΑΥΣΙΝΟΟΣ: ΠΡΑΞΙΤΕΛΗΣ (ΤΕΧΝΗ & ΗΔΟΝΗ) ΜΕ ΤΟΝ ΑΝΤΟΝΙΟ CORSO
ΠΕΡΙΕΧΟΜΕΝΑ ΕΚΠΟΜΠΗΣ:
VIDEO 1: ΕΙΣΑΓΩΓΗ - ΑΡΧΑΙΕΣ ΑΝΑΦΟΡΕΣ
ANTONIO CORSO - Ο ΑΡΧΑΙΟΛΟΓΟΣ
VIDEO 2: ΠΡΑΞΙΤΕΛΗΣ
ΠΟΙΟΣ ΗΤΑΝ Ο ΠΡΑΞΙΤΕΛΗΣ
VIDEO 3: ΤΟ ΤΕΧΝΑΣΜΑ ΤΗΣ ΦΡΥΝΗΣ
ΓΙΑΤΙ ΗΤΑΝ ΣΗΜΑΝΤΙΚΟΣ ΣΤΗΝ ΕΠΟΧΗ ΤΟΥ
Ο ΘΛΙΜΕΝΟΣ ΕΡΩΣ
Η ΦΡΥΝΗ
Ο ΠΛΑΤΩΝ & Η ΑΚΑΔΗΜΙΑ
Η ΠΡΩΤΗ ΓΥΜΝΗ ΑΦΡΟΔΙΤΗ ΤΗΣ ΚΝΙΔΟΥ
Η ΗΔΟΝΙΣΤΙΚΗ ΙΔΕΑ ΤΗΣ ΤΕΧΝΗΣ ΠΟΥ ΔΕΝ ΥΠΗΡΧΕ ΠΡΙΝ
VIDEO 4: ΠΡΑΞΙΤΕΛΗΣ Ο ΔΙΘΝΗΣ ΓΛΥΠΤΗΣ
Η ΣΤΑΣΗ ΤΩΝ ΑΓΑΛΜΑΤΩΝ
Η ΗΔΟΝΗ
Ο ΕΥΔΟΞΟΣ ΤΗΣ ΚΝΙΔΟΥ
VIDEO 5: Ο ΟΨΙΜΟΣ ΠΡΑΞΙΤΕΛΗΣ
ΤΑ ΓΝΩΣΤΑ ΕΡΓΑ ΤΟΥ ΣΤΗΝ ΑΡΧΑΙΟΤΗΤΑ
Η ΑΦΡΟΔΙΤΗ ΤΗΣ ΚΝΙΔΟΥ
ΕΡΩΤΑΣ, ΦΡΥΝΗ & ΑΦΡΟΔΙΤΗ - ΘΕΣΠΙΕΣ ΒΟΙΩΤΙΑΣ
ΤΟ ΑΓΑΛΜΑ ΤΗΣ ΦΡΥΝΗΣ ΣΤΟΥΣ ΔΕΛΦΟΥΣ
ΤΟ ΣΚΑΝΔΑΛΟ ΜΕ ΤΗΝ ΓΥΜΝΗ ΑΦΡΟΔΙΤΗ
Ο ΣΑΤΥΡΟΣ ΠΕΡΙΒΟΗΤΟΣ- ΑΝΑΠΑΥΟΜΕΝΟΣ
ΤΟ ΑΡΚΑΔΙΚΟ ΟΝΕΙΡΟ
ΤΑ ΑΓΑΛΜΑΤΑ ΤΩΝ ΘΕΩΝ
VIDEO 6: ΠΑΥΣΑΝΙΟΥ ΕΛΛΑΔΟΣ ΠΕΡΙΗΓΗΣΗΣ: ΤΑ ΜΕΓΑΛΑ ΕΡΓΑ ΣΤΗΝ ΟΛΥΜΠΙΑ
ΤΑ ΣΩΖΟΜΕΝΑ ΕΡΓΑ ΤΟΥ ΠΡΑΞΙΤΕΛΟΥΣ
Ο ΕΡΜΗΣ ΜΕ ΤΟΝ ΔΙΟΝΥΣΟ
ΟΙ ΠΛΑΚΕΣ ΤΗΣ ΜΑΝΤΙΝΕΙΑΣ
ΑΠΟΛΛΩΝ, ΜΑΡΣΥΑΣ & ΜΟΥΣΕΣ
ΑΠΟΛΛΩΝ, ΑΡΤΕΜΙΣ, ΛΗΤΩ
ΤΟ ΧΑΛΚΙΝΟ ΑΓΑΛΜΑ ΤΟΥ ΣΑΥΡΟΚΤΟΝΟΥ ΑΠΟΛΛΩΝΟΣ ΣΤΟ ΚΛΗΒΕΛΑΝΤ (ΑΡΧΑΙΟΚΑΠΗΛΕΙΑ)
Η ΑΦΡΟΔΙΤΗ LECONFIELD
ΟΙ ΧΟΡΗΓΕΙΕΣ
Ο ΑΚΑΝΘΙΝΟΣ ΚΙΟΝΑΣ ΣΤΟΥΣ ΔΕΛΦΟΥΣ
VIDEO 7: Η ΘΕΑ ΑΦΡΟΔΙΤΗ
ΓΙΑΤΙ ΕΙΝΑΙ ΤΟΣΟ ΣΗΜΑΝΤΙΚΟΣ Ο ΠΡΑΞΙΤΕΛΗΣ ΣΗΜΕΡΑ
Η ΕΚΦΡΑΣΗ ΤΩΝ ΣΥΝΑΙΣΘΗΜΑΤΩΝ ΤΟΥ ΚΑΛΛΙΤΕΧΝΗ
Η ΕΛΕΥΘΕΡΙΑ ΕΚΦΡΑΣΗΣ ΤΟΥ ΓΛΥΠΤΗ
ΠΡΑΞΙΤΕΛΗΣ: Ο ΔΟΥΛΟΣ ΤΟΥ ΕΡΩΤΑ
Η ΧΡΗΣΗ ΕΠΟΧΗ ΤΩΝ ΕΤΑΙΡΩΝ
ΟΙ ΜΑΚΕΔΟΝΕΣ ΚΑΙ Ο ΛΥΣΙΠΠΟΣ
VIDEO 8: ΦΡΥΝΗ - Ο ΛΟΓΟΣ ΥΠΕΡΑΣΠΙΣΗΣ (ΑΠΟΣΠΑΣΜΑ)
Ο ΠΡΑΞΙΤΕΛΗΣ & ΟΙ ΡΩΜΑΙΟΙ
Η ΚΑΤΑΣΤΡΟΦΗ ΤΩΝ ΑΡΧΑΙΩΝ ΕΡΓΩΝ ΤΕΧΝΗΣ ΚΑΤΑ ΤΗΝ ΒΥΖΑΝΤΙΝΗ ΠΕΡΙΟΔΟ ΣΤΗΝ ΚΩΝΣΤΑΝΤΙΝΟΥΠΟΛΗ
duration 1:28:58 hours
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https://www.youtube.com/watch?v=lsP0oK6vmcc
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https://en.wikipedia.org/wiki/Praxiteles
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((( and for more information please visit the following web page ...
The Art of Praxiteles: The Mature Years
The Art of Praxiteles: The Mature Years
Antonio Corso, The Art of Praxiteles II: The Mature Years, Rome: “L'Erma di Bretschneider”, 2007, pp. 303, 119 images. ISBN: 88-8265-437-0
By Ioannis Petropoulos,
Associate Professor of Ancient Greek Literature, Democritus University of Thrace
2007 can be described as ‘Praxiteles' Year' for two reasons. Firstly, thanks to the wonderful exhibition ‘Praxitèle' held at the Louvre, Paris, and its continuation and completion at the National and Archaeological Museum of Greece in Athens. Secondly, thanks to the publication of this book by Antonio Corso, a distinguished archaeologist, art historian, and former Onassis Foundation scholar.
A product of a twenty-year-long study, Dr. Corso's book is, more precisely, the second ―yet not the last― volume in his series of studies on Praxiteles' massive and multifarious work. The book focuses on the years 364-360 BC, namely the period that Pliny the Elder described as the prime of the Athenian sculptor. A representative work of this mature period was the celebrated statue of the Cnidian Aphrodite, whom Praxiteles represented as bending at her bath and holding her garment in her left hand. This masterpiece, which (alas!) has not been rescued, seems to have triggered a genuine representational revolution: it was the very first time that a female figure had been represented naked!
Here is what Corso has to say about it: ‘Aphrodite is represented bending forwards to pick up her garment after having washed herself in a bathing place. The site was probably in a forest, the topos where Praxiteles' deities are often placed. In Greek mythology, Aphrodite bathed before showing herself to Paris. Moreover, a tradition, harking back to the 4th c. BC, links the Cnidian Aphrodite to the judgement of Paris. It is, therefore, probable, that this statue of Aphrodite represents the goddess at her bath before the judgement of Paris. […] Praxiteles believed that the Judgement of Paris was the guarantee that a mortal could admire the goddess' beauty, translated into female terms. […] Bathing had also the function of purifying and regenerating the goddess, and her nakedness was also intended to express a state of primordial purity thus regained. Having completed her bath, the goddess was returned to her primordial purity, and aparadeigma to mortal men.'
This Aphrodite gradually overshadowed the statues of naked men and became the object of admiration (indeed, of desire!) of a great many people in the Greco-Roman Antiquity. Lucian once stated that the Cnidian Aphrodite had the most beautiful buttocks he had ever seen. Therefore, it is no wonder that, amongst all ancient Greek statues, this was the statue of which the most copies were created, dating from the 4th c. BC to the end of the Renaissance.
‘In my first volume on the art of Praxiteles,' says the author, ‘I stressed that, in the Platonic environment of our sculptor, the beauty which is closest to divine perfection was thought to be known through the least imperfect examples of earthly beauty. Moreover, because a personal knowledge of beauty is possible through one's inner feelings, it was regarded best to employ examples which provoke this feeling.'
‘For this reason,' adds Corso, ‘Praxiteles used as models two courtesans who were also his lovers: Phryne for the goddess' body and Cratina for the head.' Amongst the sources he cites is the following remark by Arnobius (6.13): ‘Who ignores […] that Praxiteles, competing with his own skill, copied the appearance of the Cnidian Venus from the features of the courtesan Cratina, whom the poor man was desperately loving? But is she the sole Venus, who had her fame increased because her face (vultus) has been taken from the one of a courtesan?'
‘Having completed the statue,' says Corso, ‘Praxiteles put the work up for sale in his workshop, together with a draped statue of the goddess, which was made in the same period, according to Pliny 36.20-1. Pliny also informs us that the Cnidians purchased the naked Aphrodite. The Coans chose first, because they first requested an Aphrodite, but refused to take the naked statue for moral reasons, preferring instead the draped Aphrodite, in keeping with the typical classical Greek habit of representing the goddess clothed.'
Dr. Corso presents over thirty images of the Cnidian Aphrodite, the protagonist of his book. The ample illustration of the rich archaeological material (e.g. coins and Roman reproductions) helps the reader as s/he watches the author chronologically present the versions and transformations of the lost ‘archetype' of Aphrodite, between the 4th c. BC and 476 AD. It was in this last year that the Cnidian Aphrodite statue, which had been ‘sheltered' in a Constantinople museum, was lost in a fire. However, thanks to Antonio Corso's systematic, scholarly archaeology, it is now possible to reliably reconstruct ―and thus reacquire― this lost masterpiece. For this and several other reasons, his book constitutes a major scientific achievement.
Corso then refers to the statue of the Coan Aphrodite, which is only known to us through a passage in Pliny (36.20) and which, as was mentioned above, was preferred by the Coans, who were known to be very conservative in religious terms. ‘In order to reconquire the configuration of the Coan Aphrodite,' says the author, ‘it is necessary to keep in mind Pliny's specification that the goddess was represented velata specie: velatus means “veiled”, therefore probably refers to a thin, transparent garment worn by Aphrodite. The Richelieu Aphrodite may echo this lost goddess. This Hadrianic statue in Parian marble, coming from Rome or around, bears carved on the plinth the following label in Greek: Praxiteles epoiesen [created by Praxiteles].' In describing the statue, the author claims that Aphrodite probably held an apple in her raised right hand. Thus, he draws the conclusion that Praxiteles carved two Aphrodites in the same time, one naked before the judgement of Paris and one dressed up after the judgment, exhibiting the prize of her victory. ‘If the first statue, bought by the Cnidians, was destined to become very popular, the second creation, bought by the Coans, may have appealed to a more intellectualistic taste, which was eager to appreciate the subtle, yet provocative charm of a sinuous figure, whose beauty lays behind a thin, transparent chiton!'
Cnidian Aphrodite statuette from the Archaeological Museum of Delos, no. 4409, late 2nd c. BC, copy of Praxiteles' Cnidian Aphrodite
Dodekatheon in Ostia, Archaeological Museum, no. 120, ca. 50-70 AD, copy of Praxiteles' Dodekatheon from the Sanctuary of the Saviour Artemis in Megara
Aphrodite Colonna, Rome, Vatican Museums, Gabinetto delle Maschere, no. 812, body ca. 140-150 AD, head (also related to another copy) ca. 130 AD, copy of Praxiteles' Cnidian Aphrodite
Head of Aphrodite from Olympia, Archaeological Museum, no. 139, ca. 100 BC, Cnidian Aphrodite variation
Left: Rear view of Aphrodite Colonna, Right: Rear view of the Cnidian Aphrodite statuette from Delos
Finally, Antonio Corso analyses the other three works of the artist's prime in a similar way: the statues of the Twelve Gods (theDodekatheon) in the Sanctuary of the Saviour Artemis in Megara, the sculpture of Aphrodite who is about to wreathe herself (Stephanousa), and the statue of Chairippe, priestess of Demeter and Kore, which had been devoted to her memory by her two brothers.
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The Art of Praxiteles: The Mature Years
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GREECE - ancient art wasn't black&white
Praxiteles’ Masterpiece
by PAUL SHERIDAN on DECEMBER 28, 2015
Before Rodin, Bernini, Michelangelo and Donatello, there was Praxiteles. He was a native of Athens, who learned the art of sculpture from his close relative Kephisodotos, and flourished in the middle part of the fourth century BC. Ancient writers rank him together with Lysippos andScopas as one of the three great sculptors of the late classical period.
The nude statue of the Aphrodite of Cnidus has been considered Praxiteles’ masterpiece from ancient times [1]. He is alleged to have used his lover, the famed courtesan Phryne [2], as a model for the statue. It holds a special place in art history as the first-ever nude female sculpture not regarded to be profane. The thing is praised like crazy by Pliny the Elder, who went so far as to proclaim it the finest statue in all the world [3]. And legend has it that the statue was of such exquisite beauty that one man even tried to have sex with it [4]. Only bits and pieces remain of the original figure, but if the surviving Roman imitations and literary descriptions are any indication, then it must have been a work of considerable artistic merit.
It is surprising, then, to find that Praxiteles did not himself consider the Aphrodite of Cnidus to be his masterpiece; that is, if a possibly apocryphal story related by Pausanias is to be believed. He writes in his description of Attica [5,6]:
Once when Phryne asked what was his (Praxiteles’) most beautiful work, he promised like a true lover to give it to her but refused to say which he thought it was. So a servant of Phryne’s came rushing in and told him his house was on fire and most of his work was lost. Praxiteles rushed out of the doors exclaiming that if the fire had got at the Satyr and the Eros (Cupid) then he had worked for nothing. Phryne told him he could put his mind at rest, nothing horrible had happened except that he was trapped into admitting which was his masterpiece. So Phryne chose Eros, and Dionysos in the temple close by has had the Satyr boy to offer him a drink; Eros standing beside him and Dionysos are by Thymilos.
Praxiteles had a reputation in antiquity for playing coy. Pliny the Elder records that whenever Praxiteles was asked which of his own works in marble he most adored, he would reply, ‘the ones which Nicias has set his hand’ [7]. Nicias was an Athenian painter renown for his ability to depict the female figure in dramatic situations. It is oblique answers of this kind by Praxiteles that evidently disposed Phryne to resort to the cunning appeal to his gullibility related above.
As with Praxiteles’ Aphrodite of Cindus, his Leaning Satyr and Eros of Thespiaehave all but perished. The loss of these masterpieces is lamentable, but the overall loss to civilisation that has resulted is not so great as might be supposed. This is because the statues survived long enough — Praxiteles’ initial fear that they were destroyed by fire being unfounded — for imitations to have been produced across the Greco-Roman world. The surviving imitations are imperfect from an information theoretical point of view. It is not for the artist to play the role of error-correcting code in the noisy channel of communication that is sculpture. On the contrary, each imitation stands as its own work of art in so far as it reflects the style are temperament of the nameless artist who produced it. In spite of all these delightful ‘errors’, the spirit, or information content, of Praxiteles’s original is nevertheless transmitted by these Roman copies in some average sense. So in this most important respect, Praxiteles’ masterpieces have survived, just with a little noise.
References (under construction)
[1] The Art of Praxiteles: The Mature Years by Antonio Corso (2007). Read it on Google Books.
[2] Making Silence Speak: Women’s Voices in Greek Literature and Society edited by André Lardinois and Laura McClure (2001), Princeton University Press. Read this passage about Praxiteles’ masterpiece at Amazon. Read a passage concerning Phryne at Google Books.
[3] Natural History by Pliny the Elder, Book 35.20-21.
[4] Erotes by pseudo-Lucian; translated by Andrew Calimach (2013). Download the pdf here.
[5] Pausanias Guide to Greece 1: Central Greece translated by Peter Levi (1984), Penguin Classics, Book I, Chapter 25, Sections 5-6.
[6] Pausanias Description of Greece translated by William Henry Samuel Jones and Henry Ardene Ormerod (1918), Harvard University Press, Book I, Chapter 20, Sections 1-2. Read this passage about Praxiteles’ masterpiece at The Perseus Digital Library.
[7] Natural History by Pliny the Elder, Book 35.130-131.
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Praxiteles Giving Phryne his Statue of Cupid by Angelica Kauffmann, 1794; image source RISD Museum, distributed under a CC BY-NC-SA 3.0 license.
amarildo topalis
Uploaded on Dec 9, 2009
Its a video about ancient art, every statue had colors.
by Amarildo Topalis
duration 07:30 minutes
murrheather13
Published on Nov 25, 2012
Second attempt to get my video to work for my art history professor.
duration 04:12 minutes
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for more information, please visit the "The polychromy of Greek and Roman sculpture and architecture" web page
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An imitation of Praxiteles’Leaning Satyr by an unknown Roman sculptor, circa 130 AD. It stands 170 cm tall. The penis has been knocked off. Image source:Musei Capitolini.
The polychromy of Greek and Roman sculpture and architecture
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