The Story of Venus de Milo at the Louvre Museum
When you think of the Louvre Museum, one of the first images that might come to mind is the Venus de Milo (English : Venus of Milo). This iconic sculpture, with its mysterious past and striking beauty, has captured the imagination of millions. But what is it about this ancient statue that continues to fascinate us? Let’s deeply dive into the story of Venus de Milo, a masterpiece that has stood the test of time.
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Table of Contents
Louvre – Venus de Milo.
1. Introduction to Venus de Milo
The Venus de Milo is more than just a sculpture; it symbolizes ancient beauty and an enduring mystery. Standing at 6 feet 7 inches (202 cm) tall, this statue of a woman is believed to represent the goddess Aphrodite, the Greek goddess of love and beauty (Called Venus by the Romans), and was crafted around 100 BCE.
What makes Venus de Milo so captivating isn’t just her missing arms or her enigmatic expression—it’s the story she tells about art, history, and the passage of time. But where did she come from, and how did she end up in the Louvre Museum? Let’s begin her tale.
2. The Discovery of Venus de Milo
On April 8, 1820, the course of art history changed dramatically when a Greek farmer named Yorgos Kentrotas unearthed several fragments of marble statuary while clearing a field on the Aegean island of Melos (nowadays called Milos). The discovery site was near the ruins of the ancient city of Milos, an area known for its wealth of archaeological treasures. Venus de Milo is the Romanized name of the sculpture, which should better be called Aphrodite of Melos after its original Greek denomination.
Olivier Voutier, a young ensign (naval officer) in French naval schooner L’Estafette and amateur archaeologist, was exploring the island that day. He noticed Kentrotas discovering the upper part of a sculpture and immediately recognized its potential importance. Voutier encouraged Kentrotas to continue digging, and together, they unearthed more fragments, including the lower part of the statue1.
The circumstances of the discovery are described in detail by Voutier himself in a letter:
“I was walking on the island, near the theater, when I saw a peasant digging in his field. He had just discovered the upper part of a statue. I urged him to continue his excavation, promising him a reward. He soon uncovered the entire statue, in two main pieces, along with several other marble fragments.“2
19th-century photo showing Olivier Voutier in uniform.
The Statue’s Condition at Discovery
When first unearthed, the Venus de Milo was in several pieces. The two largest sections were the upper torso and the lower draped legs. Several smaller fragments were also found, including part of the upper left arm and the left hand holding an apple. Interestingly, these smaller pieces were later lost in the complex chain of events that followed the statue’s discovery3. Olivier Voutier did a sketch representing the two main parts of Venus and the two herms found with it.
Drawing of Venus de Milo by Olivier Voutier, 1820
3. Political Climate and Acquisition
The early 19th century was a tumultuous time in the Mediterranean. Greece was under Ottoman rule, and tensions were high as the Greek War of Independence loomed on the horizon. It was against this backdrop that the statue was discovered and subsequently acquired by France.
Acquiring the Venus de Milo was complex and fraught with diplomatic intrigue. Jules Dumont D’Urville, another French naval officer interested in archaeology, was among the first to recognize the statue’s potential importance. He alerted the French ambassador to the Ottoman Empire, Marquis de Rivière, who quickly became involved in negotiations to secure the sculpture for France.
The French government (via its ambassador) authorized the purchase of the statue, eager to enhance its cultural prestige and compete with other European powers in acquiring classical artworks. The negotiation process was delicate, involving discussions with local officials and the Ottoman authorities who nominally controlled the region.
The Purchase and Transportation
The actual purchase of the statue was carried out by Jules Dumont d’Urville, acting on behalf of the French ambassador. The price was set at 6,000 francs, to be paid to Yorgos Kentrotas and Antonio Bottonis, on whose land the statue was found. However, there was a complication: a French representative of the Ottoman government, Monsieur Brest, had already arranged to purchase the statue for Constantinople 4.
The French outmaneuvered other interested parties in a series of rapid transactions and political maneuvers. The statue was purchased and swiftly transferred to the French naval ship L’Estafette. During this hasty removal, some fragments of the statue, including parts of the arms, were left behind 5. The sculpture was later transported to France aboard another French ship, La Lionne.
4. Venus de Milo’s Journey to the Louvre – Controversies
Upon its arrival in France, the Venus de Milo was presented to King Louis XVIII, who then donated it to the Louvre Museum. This acquisition was seen as a significant coup for French cultural diplomacy, especially in light of the British Museum‘s recent acquisition of the Parthenon Marbles.
The Reception in France
Upon its arrival in France, Venus de Milo was celebrated as a symbol of classical beauty. The statue was prominently displayed in the Louvre, attracting the attention of artists, scholars, and the general public. It became a source of inspiration for many and influenced the Neoclassical art movement that was gaining momentum at the time.
The Political Context and Controversy
The story of Venus de Milo is not without its controversies. The circumstances of her discovery and acquisition have been the subject of much debate. Some argue that the statue was obtained under dubious circumstances, and the question of rightful ownership has been raised more than once.
A Symbol of National Pride
For France, the acquisition of Venus de Milo was not just about adding to the nation’s art collection; it was about asserting cultural dominance. In the aftermath of the Napoleonic Wars, after the 1814 Congress of Vienna and 1815 Waterloo, France had to return most of the works of art taken all over Europe. The Louvre looked empty (the Apollo Belvedere and the Venus de’ Medici which were part of the Louvre collection before Waterloo, had been returned to respectively the Vatican and Florence in Italia). France was then eager to re-establish itself as a center of art and culture. Venus de Milo became a symbol of that effort, competing with the British acquisition in 1805 of the frieze of the Parthenon and the sculptures of its East pediment (Elgin Marbles).
The statue’s display in the Louvre was a statement of French cultural superiority, showing the world that France was still a beacon of civilization.
Arrived in the Louvre in 1821, the Venus de Milo became immediately famous and was glorified in a Louvre painted ceiling by Jean Baptiste Mauzaisse no later than in 1822. Called “Le Temps montrant les ruines qu’il amène, et les chefs-d’oeuvre qu’il laisse ensuite découvrir“, this painted ceiling is visible in Louvre room 661 (just beside Rotonde d’Apolon).
Controversies and Disputes
However, the circumstances under which the statue was acquired have been questioned. Greece was under Ottoman rule then, and some argue that the statue was taken without proper consent. This has led to calls for its return to Greece, where some believe it rightfully belongs. The debate over the statue’s ownership is part of a broader conversation about the repatriation of cultural artifacts, which remains relevant today.
5. The Other Journeys of Venus de Milo since it Arrived in the Louvre
Upon its arrival at the Louvre in 1821, the Venus de Milo was installed in the area of the former Royal Apartments, which had been inaugurated as the “Galleries des Antiques” only ten years prior, after being redesigned by Percier and Fontaine, the architects of Napoleon I.
During the 1870 war, the Venus de Milo was sheltered in the Paris Prefecture (Préfecture de Paris) cellars.
At the beginning of World War II, the Venus de Milo (along with the Nike of Samothrace) was secretly hidden in the Château de Valençay, located in the Loire Valley area. In the Louvre, the German troops were admiring a plaster-made replica.
The Château de Valençay was where the Venus de Milo was hidden during WWII.
Generalfeldmarschall Gerd von Rundstedt in front of a plaster model of the Venus de Milo while visiting the Louvre with the curator Alfred Merlin on 7 October 1940. Attribution: Bundesarchiv, Bild 183-L15196 / CC-BY-SA 3.0
In 1963, the famous statue was sent to the United States to be exhibited in New York and Washington. In 1964, the Venus de Milo was transported to Japan but suffered severe damage during the journey.
Since then, moving it from the Louvre has no longer been an option. Nevertheless, not everybody agrees with that. Indeed, a few years ago, some inhabitants of Milos initiated a campaign to request the return of the Venus de Milo “home” to the island of Milos (or Melos).
After being exhibited in various galleries of the Louvre, the Venus of Milo is now back in the “Galleries des Antiques,“ where it was initially presented to the public in 1821.
6. Venus de Milo’s Style: A Hellenistic Sculpture of exceptional quality
Venus de Milo is a quintessential example of Hellenistic art, a period that followed the conquests of Alexander the Great and marked the spread of Greek culture across a vast empire. Hellenistic art is characterized by its emphasis on realism, movement, and emotional expression, all of which are evident in Venus de Milo. However, further away from its generic qualities, specific reasons make Venus de Milo exceptional.
It is a genuine, authentic ancient Greek sculpture without an intrusive restoration.
The first reason Venus de Milo is exceptional is its authenticity. Indeed, because the experts disagreed about the position of its arms, it was finally decided not to recreate any, which was clearly against the habit of the time. This is how Venus de Milo remains a fully authentic ancient Greek statue.
Best quality Parian Marble
Before debating about the aesthetic qualities of Venus de Milo, it is also important to understand its base: the quality of its marble. Venus De Milo is made of Parian marble from the underground quarries of Paros island, known as “lychnites” due to the use of lamps during extraction. The fine-grained crystalline structure of this premium marble, considered the finest in ancient Greece, enabled remarkably smooth transitions between forms, particularly visible in Venus’s softly modeled torso; it is also responsible for the exceptional witness of the sculpture.
Realism and Naturalism
One of the hallmarks of Hellenistic art is its focus on realism and naturalism. Unlike the idealized forms of the earlier Classical period, Hellenistic artists sought to capture the true essence of their subjects, including the imperfections and individuality of the human form. In Venus de Milo, this is seen in the detailed rendering of her drapery, the subtle expression on her face, and the realistic portrayal of her body.
The Play of Light and Shadow
Another feature of Hellenistic art is the use of light and shadow to create a sense of depth and movement. The way the drapery of Venus de Milo falls and the soft curves of her body are accentuated by the play of light across the marble surface, giving the statue a lifelike quality that draws the viewer in.
7. The Origins and Date of the Statue
Determining the exact origins of Venus de Milo has been challenging for historians. While the statue is widely believed to depict Aphrodite, the goddess of love and beauty, some scholars have suggested it could represent another deity, such as Amphitrite, the goddess of the sea, who was also worshipped on Milos.
Dating the Masterpiece
The Hellenistic aspect (see previous section) of the sculpture suggests that the statue was created during the Hellenistic period around around 130-100 BCE.
Indeed, the dating is based on the style of the drapery and the sensual yet composed expression of the figure. This period saw artists striving to capture more naturalistic human forms, and Venus de Milo is a prime example of this pursuit.
Nevertheless, there are still debates on the date of the sculpture’s creation. Indeed, if its lower part (the one of the drapery) is very much Hellenistic, the upper part may seem to belong in some aspects to the ancient Greek classical period (before Alexander the Great). There are various theories about it, but it is most commonly admitted that all the work is from the Hellenistic period, and the contrast between the lower and upper parts was just the artist’s willingness when he carved the sculpture.
The sculptor of Venus de Milo is unknown.
Nevertheless, due to a plinth found with the sculpture and inscribed” …andros son of …enides citizen of …ioch at Meander made” reconstituted in “Alexandros, son of Menides, from Antioch” the famous sculpture is often attributed to Alexandros of Antioch (2nd – 1st century BC), a sculptor of the Hellenistic period. Despite this epigraphic clue, there is no absolute certitude about it.
8. The Artistic Features of Venus de Milo
Venus de Milo is celebrated for its exquisite craftsmanship and artistic features. The statue’s beauty lies in its balance of realism and idealism—its proportions are perfect, yet it also possesses a timeless, almost ethereal quality.
The Face and Expression
The face of Venus de Milo is serene, with a gentle smile that has intrigued viewers for centuries. Her expression is often described as mysterious, and this ambiguity adds to her allure. Is she smiling at a private thought, or is her expression one of reserved contemplation?
The Drapery and Pose
The drapery of the statue is another masterpiece of craftsmanship. It clings to her body, revealing the contours of her form while also adding a sense of movement to the sculpture. The way the fabric cascades down her hips and legs is both naturalistic and incredibly detailed, showcasing the sculptor’s skill.
9. The Missing Arms: A Mystery Unsolved
One of the most intriguing aspects of Venus de Milo is her missing arms. These missing limbs have sparked endless debates and theories. How did they break off? What position were they originally in? And perhaps most intriguingly, what was she holding?
Theories and Speculations
Since the early days of its discovery in 1821, it is most commonly believed that Venus de Milo’s right hand and arm were holding the tunic just at the level of the left hip in an attempt to prevent it from slipping while she was having an apple in the left hand referencing the myth of the Judgement of Paris, where she was awarded the apple as the most beautiful goddess. In some variants of this hypothesis, the right hand is supported by a pillar. Whatever, with or without a pillar, the apple hypothesis is the most commonly accepted. A corresponding 3D reconstitution on YouTube by ardi.se is based on Adolf Furtwängler‘s proposed restoration sketch from 1895.
Since its discovery in 1821, various hypotheses have been developed about the position of the sculpture Arms. Nowadays, the Strongest hypothesis challenging the apple is the one of the Venus of Capua holding a shield (the one of Ares) as a mirror, Cf. Marianne Hammiau 6.
Other possibilities that have been suggested are that the statue did not represent Aphrodite, but Artemis holding a bow, a Danaid with an amphora, or Amphitrite carrying a trident. The latter was a divinity especially adored on Milos, quite logical for an island.
Despite various attempts to reconstruct the statue, the true nature of her pose remains a mystery, which may be part of what makes her so compelling.
10. The Concept of the Privileged Face
Even though Venus de Milo is a three-dimensional statue, there’s a concept in sculpture known as the “privileged face.” This refers to the idea that there is an optimal viewing angle for a statue, where the viewer can best appreciate the artist’s intent and the statue’s full impact.
The Optimal Viewing Angle
For Venus de Milo, the privileged face is often considered to be from slightly to the side, where the viewer can see both the front of her torso and the gentle curve of her profile. From this angle, the statue’s beauty is fully revealed, with the play of light highlighting her serene expression and the elegant lines of her body.
Why This Matters
Understanding the concept of the privileged face helps us appreciate why Venus de Milo is displayed the way she is in the Louvre. The curators have positioned her so visitors can experience the statue from its most impactful angle, ensuring her beauty is seen as the artist intended.
11. Another Venus de Milo, the Rear Face
If you come to the Louvre, don’t miss the other Venus de Milo, its rear face. It is amazing how very often there is nobody to look at that part of the statue while a compact crowd is massed on the other side.
Venus de Milo, rear part.
12. Symbolism and Interpretations
Venus de Milo is not just a representation of a goddess; she embodies the ideals of beauty, grace, and classical art. Over the years, the statue has been interpreted in various ways, reflecting different periods’ changing tastes and values.
A Symbol of Feminine Beauty
In many ways, Venus de Milo has come to symbolize the ideal of feminine beauty. Her proportions, poise, and enigmatic expression all contribute to an image of timeless beauty. But this idealization also raises questions: What does it mean to be “perfect”? How have our perceptions of beauty changed since the statue was first created?
A Representation of Classical Art
Venus de Milo also represents the enduring legacy of classical art. The statue is a reminder of the skill and artistry of the ancient Greeks, whose work continues to inspire and influence artists today. The fact that Venus de Milo has remained such a prominent figure in art history is a testament to the power of classical ideals.
13. Cultural Impact and Legacy
Venus de Milo has left an indelible mark on both art history and popular culture.
Her image has been reproduced countless times, and she has become a symbol of classical beauty and artistic excellence.
Venus de Milo in Modern Art and Media
The statue has inspired numerous artists, from 19th-century Neoclassical painters to contemporary sculptors and photographers.
Her influence extends beyond the art world. She has also appeared in films, advertisements, and even cartoons, often as a symbol of timeless beauty or as a playful reference to her missing arms.
For example, in the 1860s, the famous French caricaturist Honoré Daumier gave tribute to Venus in a watercolor.
The Connoisseur- Honoré Daumier – watercolor – ca. 1860–65. Courtesy MET.
Paul Cézanne did drawings of Venus de Milo in the 1880s.
In 1896, Auguste Rodin conceived “La Voix intérieure” (The Inner Voice, also called Meditation), the sculpture of a woman with a strong contrapposto and no arm, as a tribute to Venus de Milo. Rodin was a big fan of the famous sculpture and even wrote a book about it in 1912: “A la Venus de Milo” (to the Venus of Milo).
Less known, Pablo Picasso was also influenced by Venus de Milo. We know that before coming to Paris for the first time, he was doing sketches and drawings using Venus de Milo plaster, which is now in Barcelona. Later on, in the early 1920s, in its Neoclassical “Return to Order” (“Retour à l’Ordre“) period, Picasso was influenced again by Venus de Milo in his bather works, as explained in the Minneapolis Institute of Art.
From 1931 René Magritte gave multiple interpretations of the Venus de Milo with his series “Les menottes de cuivre,” (The Copper Handcuffs).
The poster of the famous Josef von Sternberg 1932 movie with Marlene Dietrich, “Blonde Venus,” was directly inspired by Venus de Milo.
Salvador Dali’s Venus de Milo with Drawers (1936) is probably the most famous re-interpretation of the sculpture. The famous surrealist artist said y created an “anthropomorphic cabinet” based on the Venus de Milo (Art Institute Chicago).
In 1962, Yves Klein applied his intense IKB blue to Venus de Milo as well as to the Winged Victory of Samothrace.
Arman (1928-2005) sliced it in 1992 in a bronze called “Venus des Arts” which is visible in Paris 6th district rue Jacques-Callot.
Paul Cézanne – Study of Venus de Milo – 1881-1884. Courtesy National Gallery of Art, Washington.
A Timeless Icon
Despite the passage of time, Venus de Milo remains a timeless icon. Her presence in the Louvre continues to draw millions of visitors annually, and her image is instantly recognizable worldwide.
She has become more than just a statue; she is a cultural touchstone, a piece of history that continues to inspire and captivate; a famous restaurant and premier event facility is even named after it in New England. In March 2018, a replica of the Venus de Milo with attached prosthetic arms during an action led by Handicap International was shown at the Louvre-Rivoli metro station in Paris. In 2024, for the Paris Olympics and Paralympics, an artwork by French Artist Laurent Perbos was installed on the steps of the Palais Bourbon, the seat of the French National Assembly. Titled “La Beauté et le Geste” (Beauty and the Gesture), the work consisted of six replicas of the Venus de Milo. Each replica, with its unique color (purple, yellow, blue, orange, green, or red), represented one Olympic disciplines.
14. Restoration and Conservation Efforts
Preserving Venus de Milo for future generations is a priority for the Louvre. Over the years, the statue has undergone several conservation efforts to maintain its condition and prevent deterioration.
Maintaining the Marble
Marble, while durable, is also susceptible to damage from environmental factors such as humidity and pollution. The Louvre’s conservators regularly clean and inspect Venus de Milo to ensure that the statue remains in the best possible condition. This involves carefully monitoring the statue’s environment and making any necessary adjustments to prevent damage.
Ongoing Conservation
In addition to routine maintenance, Venus de Milo has been the subject of more extensive conservation efforts, particularly as technology has advanced. These efforts have included detailed studies of the statue’s composition and structure, allowing conservators to understand better how to preserve it. The use of modern technology has also made it possible to detect and address potential issues before they become serious problems.
15. Visiting Venus de Milo at the Louvre
Seeing Venus de Milo in person is an unforgettable experience for those who have the opportunity.
The statue is displayed in the Louvre’s Department of Greek, Etruscan, and Roman Antiquities, where it stands in the “Gallerie des Antiques“, the former Louvre Royal Apartments, redesigned under Napoleon I and highlighted by the red marble walls desired by Percier and Fontaine, the architects of the famous French Emperor.
There, Venus de Milo thrones at the end of the gallery in room 344 (Sully Wing, Level 0). As the room is nearly exclusively dedicated to Venus de Milo, people can admire it in its full three-dimensional aspects.
Venus de Milo’s gallery is usually very crowded during the daytime. A Louvre evening tour will give you a much better experience there.
Tips for Viewing the Statue
When visiting the Louvre, it’s best to plan your visit during less crowded times, such as early in the morning or later in the afternoon, just before closing. This will give you a better chance to appreciate Venus de Milo without being jostled by the crowds. Take your time to view the statue from different angles, paying particular attention to the privileged face to fully appreciate the artistry of this incredible work.
However, for an optimal experience with the Venus de Milo, consider visiting the Louvre on Wednesday or Friday. The museum is open until 9 p.m. (instead of 6 p.m.) and is usually less crowded in the evening. For the best experience, choose an evening tour of the Louvre.
16. Conclusion: Why Venus de Milo Matters
The Venus de Milo is not just a piece of ancient art but a symbol of the enduring power of beauty, mystery, and human creativity. From her discovery on a Greek island to her place of honor in the Louvre, she has captivated audiences for centuries. Her story is one of art transcending time, connecting us to a past that still resonates today. As we continue to study and admire Venus de Milo, we are reminded of the importance of preserving our cultural heritage and the timeless appeal of great art.
17. Venus de Milo Frequently Asked Questions (FAQs)
Q: 1. What happened to the Venus de Milo’s arms?
A: The exact reason why Venus de Milo’s arms are missing is unknown. You may find some articles saying that the arms of the sculpture were broken off in 1820 during a fight on the shore of Milo when the French and Ottomans were competing for the possession of Venus. This is pure fiction. Scholars agreed that the limbs of Venus were already absent when the statue was discovered in 1820. Indeed, the sculpture is represented without its arms in the drawing of Olivier Voutier depicting it at the time of its discovery. Nevertheless, despite not being depicted in Oliver Voutier’s drawing, a fragment of an arm and a hand holding an apple were discovered alongside the sculpture. However, they were lost during the removal of the sculpture when the French and Ottomans were competing for its possession.
Q: 2. Who does Venus de Milo represent?
A: Venus de Milo is widely believed to represent Aphrodite, the Greek goddess of love and beauty. However, some scholars argue that she could depict another deity, such as Amphitrite.
Q: 3. How old is Venus de Milo?
A: Venus de Milo was created around 130-100 BCE, making her over 2,100 years old. She is a product of the Hellenistic period of Greek art.
Q: 4. Where is Venus de Milo displayed in the Louvre?
A: Venus de Milo is located in the Department of Greek, Etruscan, and Roman Antiquities: Wing Sully, Level 0, Room 345. Venus de Milo takes center stage in Room 345, which is nearly only dedicated to it. This room in which the famous sculpture has been shown since 2010 is the one in which it was initially shown in 1822.
Q: 5. Is it crowded in the Venus de Milo Gallery Venus de Milo?
A: It is usually very crowded in the Venus de Milo Galery. Indeed, it is situated in one of the most overcrowded parts of the Louvre, just beside the famous “Room of the Caryatids” and the “Ana of Austria summer apartments,” just after the famous Denon Staircase with the Nike of Samotrace at its pinnacle.
Q: 6. His there any way to avoid the crowd at Venus de Milo?
The best strategy is to come to the Louvre during the evening opening on Wednesday and Friday (except the first Friday evening of the month, as free tickets are given). Alternatively, if you are lucky, it may be less crowded at lunchtime. But there is another way to avoid the crowd at Venus de Milo, which is always working: look at it from the rear part; you will most probably be alone, as the crowd is facing it.
Q: 7. What is the significance of Venus de Milo?
A: Venus de Milo is significant for her representation of classical beauty and her mysterious history. She is also a symbol of the enduring legacy of ancient Greek art.
Q: 8. Why Venu de Milo is called Venus de Milo?
Her name comes from the Greek island of Melos (now called Milos), where she was founded in 1820 before being acquired by the French ambassador after some unforeseen developments.
Q: 9. Is the Venus de Milo made of only one block?
No, Venus de Milo has two main parts: the upper and lower bodies. Both parts are assembled with mortises and metal studs.
Q: 10. What became Olivier Voutier after co-discovering the Venus de Milo in 1820?
Olivier Voutier resigned from the French Navy and joined the Greek insurgents in the Greek War of Independence in 1821, just a year after the Venus discovery. He was appointed colonel of the Greek army in May 1822 and took part in the battle of Peta in July, then in the first siege of Missolonghi. He was appointed chief of the Greek artillery.
Upon retiring from military service in 1847, he settled in the sun-soaked town of Hyères, near Toulon in the Var department. From 1849 to 1860, he acquired an estate on which he built the Castel Sainte-Claire and its garden, where he was buried. The American novelist Edith Wharton lived here from 1927 to 1937. Voutier’s estate is now a famous public garden of 6,500 sqm named Parc Saint-Claire in the city of Hyères, with fabulous views of the sea and landscaping.
Q: 11. What became Jules Dumont D'Urville after alerting the French Ambassador about Venus de Milo's historical and artistic value?
After the Venus de Milo episode, Jules Dumont d’Urville (1790-1842) became one of France’s most accomplished explorers. From 1822, he undertook three major voyages to the Pacific Ocean that significantly advanced our understanding of Oceania and Antarctica. His scientific expeditions aboard the Astrolabe yielded groundbreaking discoveries, including mapping vast portions of the South Pacific and identifying hundreds of new plant and animal species. Tragically, this pioneering navigator met an untimely death in France’s first major train accident near Meudon (a municipality in the southwestern suburbs of Paris), where he perished alongside his wife and son. Dumont d’Urville reached the rank of rear Admiral. His legacy lives on in the numerous geographic features named after him, including Dumont d’Urville Station in Antarctica and Dumont d’Urville Sea.
Q: Did other famous ancient Greek sculptures where found in Milo?
A: Yes, in 1877, 57 years after the discovery of Venus de Milo, another major ancient Greek sculpture was found. Like the famous Venus, it is made of Parian marble of the Hellenistic period. The 2.35-meter-high statue represents Poseidon and is then called the Poseidon of Melos. It now stands in the National Archaeological Museum (NAMA) in Athens, Greece.
Q: Is there a Venus de Milo significative replica in the USA?
A: We know at least one: Venus di Milo replica, Caesar’s Palace, Las Vegas, Nevada. Strangely, the sculpture is not named Venus de Milo (French), Neither Venus of Milo (English), but Venus di Milo (Italian). Apparently, there is also another Venus de Milo in an Atlantic City casino.
References
- Prettejohn, Elizabeth. (2006). “The Modernity of Ancient Sculpture: Greek Sculpture and Modern Art from Winckelmann to Picasso.” I.B. Tauris. p. 37. ↩
- Curtis, Gregory. (2003). “Disarmed: The Story of the Venus de Milo”. Knopf. p. 45. ↩
- Kousser, Rachel. (2005). “Creating the Past: The Vénus de Milo and the Hellenistic Reception of Classical Greece.” American Journal of Archaeology. 109 (2): 227–250. ↩
- Haskell, Francis & Penny, Nicholas. (1981). “Taste and the Antique: The Lure of Classical Sculpture, 1500-1900”. Yale University Press. p. 328. ↩
- Gould, Cecil. (1970). “Trophy of Conquest: The Musée Napoléon and the Creation of the Louvre”. Faber & Faber. p. 192. ↩
- Marianne Hammiaux. (2017). “Le type statuaire de la Venus de Milo”. Revue Archéologique 2017/1 n°63. P. 65 à 84. ↩
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