Crouching Venus

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The Lely Venus once belonged to the painter Sir Peter Lely (Royal Collection, on loan to the British Museum

Allegory by Peter Paul Rubens, 1612-13, executed after his stay with the Gonzaga at Mantua, where he saw the Lely Crouching Venus, then in the Gonzaga collection

This article is on the type itself - see links within it for specific instances of the type.

The Crouching Venus is a Hellenistic model of Venus surprised at her bath. Venus crouches with her right knee close to the ground, turns her head to the right and, in most versions, reaches her right arm over to her left shoulder to cover her breasts.^[1] To judge by the number of copies that have been excavated on Roman sites in Italy and France, this variant on Venus seems to have been popular.

A number of examples of the Crouching Venus in prominent collections have influenced modern sculptors since Giambologna and have been drawn by artists since Martin Heemskerck, who made a drawing of the Farnese Crouching Venus that is now in Naples.

[edit] Attribution

The model is often related to a corrupt passage in Pliny the Elder's Natural History (xxxvi.35) enumerating sculptures in the Temple of Jupiter Stator in the Portico of Ottava; the text has been emended to a mention of Venerem lavantem sese Daedalsas, stantem Polycharmus ("Venus washing herself, of Daedalsas, [and another], standing, of Polycharmus"), recording a sculpture of a Venus who was not standing, by the otherwise unknown Doidalses or Daedalsas.^[2]

[edit] Ancient examples

So many terse archival references and so many existing ancient versions make archival identification of the Roman copies insecure. They are often paired with the other famous crouching sculpture of Antiquity, the Arrotino.

• The Crouching Venus of the Medici collection, noted at Villa Medici, Rome, is now at the Uffizi in Florence. It was engraved (with its restored sea-shell - see here) by Paolo Alessandro Maffei, Raccolta di statue antiche e moderni..., 1704 (plate XXVIII)

• The Crouching Venus of the Farnese collection of marbles, restored with a small Eros who engages the goddess's attention, is now in the Museo Archeologico Nazionale, Naples. It was drawn by Martin Heemskerck.^[3]

Vénus Accroupie (Musée du Louvre)

• The Lely Venus (main image, above) is an Antonine marble that was in the Gonzaga collection, Mantua, where it was inventoried in 1631 as "the finest statue of all" and valued at 6000 ecus (Haskell and Penny 1981:321). It was soon purchased for Charles I of England, whose art collections were dispersed during the Commonwealth, and afterwards came into the possession of the painter and connoisseur Sir Peter Lely. It has passed into the Royal Collection and is on loan to the British Museum [1].

• The Crouching Venus excavated at Salone in the second half of the 18th century was purchased for the Vatican Museums, where it was etched by Francesco, the son of Giovanni Battista Piranesi, then confiscated by the French under Napoleon but returned to the Vatican in 1816, where it remains.

• The Vénus Accroupie, is a 2nd-century crouching Venus from the collection of Louis XIV, now in the Musée du Louvre.

• The Crouching Venus of Vienne, considered one of the finest Roman marbles of this type (Haskell and Penny 1981:323), was excavated near Vienne in 1828 and came to the Louvre, where Cézanne drew it and adapted it for one of the figures in his Grande Baigneuses (Philadelphia).

• A Crouching Venus that was excavated at that quarry of antiquities, Hadrian's Villa at Tivoli, in the 1920s, is accounted among the finest of the Roman versions (Haskell and Penny 1981:323). It is conserved in essentially unrestored condition in the Museo Nazionale delle Terme, Rome.

• A small marble Crouching Aphrodite of the 1st century BCE was discovered in Rhodes.

[edit] Appreciation in Renaissance

Crouching Venus engraved by Marcantonio Raimondi, 1505-06: which Roman marble furnished the model?

The early interpretation of the figure, as Venus at her birth, about to be carried ashore — a type of Venus Anadyomene — encouraged the restoration of a shell upon which she crouches, in which form the Medici sculpture was engraved by Paolo Alessandro Maffei, Raccolta di statue antiche e moderni..., 1704 (plate XXVIII)

[edit] Versions since the Renaissance

Several versions of the Crouching Venus issued from the atelier of Giambologna and his heir Antonio Susini; among examples of Susini's bronze reduction, one from the collection of Louis XIV is conserved in the Holburne Museum of Art, Bath ^[4], while another, in the collection of Prince Carl Eusebius von Liechtenstein by 1658, remains in the Liechtenstein collection, Vienna^[5].

• A famous variant in marble was delivered by Antoine Coysevox in 1686 for the Château de Marly; Coysevox, who set his Venus on a tortoise rather than a shell, was so exultant in his success that he inscribed the name of Phidias in Greek as well as his own. The sculpture pleased the king to the extent that a bronze version was cast. Today the Marly marble is at the Musée du Louvre and the Marly bronze is at the Château de Versailles.

• At Caserta Palace, the would-be Versailles outside Naples, a marble copy by Tomasso Solari was provided for the vast gardens in 1762 (Haskell and Penny 1981:323).

• Jean-Baptiste Carpeaux's Crouching Flora (ca 1873), in the Calouste Gulbenkian Museum, reinterprets the familiar pose.

[edit] Notes

[edit] References

• Haskell, Francis and Nicholas Penny, 1981. Taste and the Antique: The Lure of Classical Sculpture 1500-1900. (Yale University Press).

[edit] Further reading

Wikimedia Commons has media related to: Category:Crouching Venus

• Beard, Mary and John Henderson, 2001. Classical Art: from Greece to Rome (Oxford University Press)
• Lullies, Reinhard, 1954. Die kauernde Aphrodite (Munich: Filser)

[edit] External links

• Kauernde Aphrodite Documentary photos