On the death of Alexander the Great, the shaky structure of his universal Greek empire collapsed, and those who were close to him divided the vast empire among themselves. But a new world had emerged: the Hellenistic world. This word came from the term Hellenist which was used after the Greek conquests to describe the eastern victories won by the Hellenic civilization.
The Hellenic universe was therefore one in which the Greek and the oriental worlds, which had never ignored each other, came into even closer contact and sometimes even merged. The old artistic centres declined and were replaced by new capitals: Pergamum, Alexandria, Antioch, Rhodes, etc. In this new atmosphere, Greek art was transformed and became a game, abandoning its creative force to focus on technical perfection.
Hellenistic sculpture, in particular, is a true reflection of this new tendency. Once the way was opened by 4th century artists, especially by the Athenian Praxiteles who was the first who dared to represent naked goddesses, Hellenistic art in turn produced innumerable naked Aphrodite. But while Praxiteles sought to achieve ideal beauty, Hellenistic art, with its wider clientele, concentrated on satisfying a taste for realism and refined sensuality.
However, the grace and freshness of this crouching Aphrodite is worth noting. The elegant pose and harmonious volumes reveal a sense of balance and a rhythm that is unquestionably pleasing to the eye. Among the most well known works of the Hellenistic period are the Venus of Milo, the Victory of Samothrace, the Laocoon, the Farnese Bull, and the Great Altar of Pergamum.
Reproduction in hand patinated resin
- H. 33 cm (12,99"); L. 16 cm (6,30"); P. 12 cm (4,72") - 5 kg / Socle : H. 7 cm; L. 16 cm; P. 12 cm
- Black painted wood
- Excavations around Beirut
- Material of the original
- Greek Art - 3rd century B.C., Hellenistic style
- Paris - Musée du Louvre
- Antique and athletes
- Art movement
- Greek, Etruscan and Roman Antiquities