Name: White Alabaster Sculpture of Crouching Venus Tuscany Italy 19th Century (F)
Brand: Unknown
Rating: 4.9 (35 reviews)

White Alabaster Sculpture of Crouching Venus Tuscany Italy 19th Century (F)

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About the Item

An important grand tour sculpture of the crouching Venus carved in white alabaster . The original Crouching Aphrodite was a bronze sculpture by Doidalsa, datable to 250 BC. approximately and today known only from copies of the Roman era, among which the best is considered the marble one without arms (106 cm high) in the National Roman Museum of Palazzo Massimo in Rome. Doidalsa represented Aphrodite in a very original pose, that is crouched while she is about to receive the water from the sacred bath, developing the idea of Praxiteles' Cnidian Aphrodite. Another interpretation is that she depicts the goddess in a "demure" pose, as she notices a spectator by turning her head and trying to cover her chest and pubis with her hands. The different inclination of the legs, the bent back, the head turned gracefully to the left, show the goddess in a humanized attitude, far from the otherworldly idealized atmospheres of the previous works, so as to better respond to the cultural climate and the expectations of the public in the era of Hellenism. The Grand Tour was the principally 17th- to early 19th-century custom of a traditional trip through Europe, with Italy as a key destination, undertaken by upper-class young European men of sufficient means and rank (typically accompanied by a tutor or family member) when they had come of age (about 21 years old). The Grand Tour offered a liberal education, and the opportunity to acquire things otherwise unavailable, lending an air of accomplishment and prestige to the traveller. Grand Tourists would return with crates full of books, works of art, scientific instruments, and cultural artefacts – from snuff boxes and paperweights to altars, fountains, and statuary – to be displayed in libraries, cabinets, gardens, drawing rooms, and galleries built for that purpose. The trappings of the Grand Tour, especially portraits of the traveller painted in continental settings, became the obligatory emblems of worldliness, gravitas and influence. Artists who particularly thrived on the Grand Tour market included Carlo Maratti, who was first patronised by John Evelyn as early as 1645, Pompeo Batoni the portraitist, and the vedutisti such as Canaletto, Pannini and Guardi. The less well-off could return with an album of Piranesi etchings.

Creation Year:
after 1800
Dimensions:
Height: 27.56 in (70 cm)Width: 12.21 in (31 cm)Depth: 8.27 in (21 cm)
Medium:
Alabaster
Period:
19th Century
Condition:
Gallery Location:
Roma, IT
Reference Number:
1stDibs: LU1350112016152

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