Venus, Roman

Through the development of art , the fascination of the female body has been a main motif . It is Venus , Roman Goddess of love who has intrigued the artist , and held their attention for well over a few centuries . She has been not only Venus , but also Aphrodite (the Greek Goddess of Love she has been Mary , mother of Christ in Gothic tradition and she had been found in the countless faces of women depicted by Picasso , Monet , Degas Warhol (for isn 't Monroe a goddess . The link in these references is that this

goddess , whomever she is , is holding the fascination of male artist . This is not to say that female artists have not taken up the trend which she invokes , but the purpose here is to discover how differently she is seen through their eyes in comparison with male visions of `love . This will focus on the Roman Venus as depicted in the statue A .D . 100-200

Canon is a term used to describe the standard of a genre , or what exists to which other art pieces must adhere . Polycleitus created the canon for Roman art with his Doryphorus (Spear Bearer . This was the penultimate beauty standard for Roman Art and every artist wanted to rise to meet it . The canon of art was further emphasized with this Roman Venus in her stoic stance , her contrapossto stature and her angles

The concept of Venus is seen as the Roman canon of beauty in perfection Vitruvius ' aspects and principles of art and what makes art will be introduced . In the concept of Roman Art and creating statues resembling Venus , the definitions of how this statue is considered to be `classical ' and why in this statue achieves the ideal human form will also be presented and dissected with references to Vitruvius ' De Architectura

The fact that Venus has turned the front of her face away from the viewer says that she is being mysterious not letting all of her secrets show . She does turn her body toward the artist , which says that she is not ashamed of her present condition of nudity , but she is reveling in it , in the way that she doesn 't use all the material surrounding her to cover herself with , or that she is in a relaxed pose her arms are in a position of movement but not fast movement . She stares blatantly at the viewer /artist and she is neither chagrined nor gloating she is simply and clearly passive

Yet the condition in which her passivity is relinquished tells the viewer that there is something more here than a hardened stare . There is the elaborate background , the soft movement of her skin , which are warm and inviting . In Venus the viewer is torn between wanting to reach out and fall into the warmth which her body promises , and at the opposite end of the spectrum the viewer is shunned from thinking such a thought because of that look which personifies stoicism on the face...