Measuring under eight inches tall, this bronze figure of Venus is smaller than a standard Barbie doll.
Unlike the widely recognized fashion doll, the proportions and relaxed pose of Venus convey a realistic feminine form. Adorned solely with a diadem or crown on her head, she stands in a complete nude state, distributing her weight on the left leg, while the right leg is gently flexed at the knee. With her right hand, she reaches upwards, seemingly adjusting a lock of hair from her elegant upstyle.
Venus is the Roman counterpart to the Greek goddess Aphrodite, recognized as one of the most revered deities throughout the Roman Empire. Although she is extensively celebrated today as the goddess of love, beauty, and sexuality, her influence extended to fertility and motherhood, where she was regarded as the progenitor of the Roman populace, symbolizing their mythical ancestry. This made her especially significant for women, particularly those who were married, with their main duty being to bear children and ensure the survival of Roman civilization.
Given Venus’s multifaceted significance, it’s no surprise she was a common figure in Roman art, depicted in various sizes and crafted from materials ranging from humble to luxurious. At the Art Institute, there exists a large-scale marble sculpture of Venus, along with another representation of Aphrodite, currently on view in the Mary and Michael Jaharis Galleries dedicated to Greek, Roman, and Byzantine Art.
Depictions of the Divine
Most Romans could not afford lavish, large marble sculptures like those mentioned. Instead, many owned smaller representations of their deities made from cheaper materials like terracotta or bronze. These statuettes served crucial functions beyond mere decoration; they were integral to personal religious rituals enforced by household altars honoring the divine and commemorating deceased relatives. All strata of Roman society maintained such household shrines, resulting in wide variability in the quality of the statuettes. This particular Venus, while an excellent representation of its kind, would still have been accessible to a patron of typical means due to its size and material.
Centuries later, in the 19th century, Louis de Clercq—an industrialist, politician, and photographer from France—collected this statuette as he traveled throughout the Middle East and gathered numerous Mediterranean antiquities. His vast collection was documented in eight volumes published from 1901 to 1912. Although not exhaustive, the illustrations included this statuette in the 1905 edition focusing on De Clercq’s bronzes.
This recent addition to our collection enhances our ability to narrate more expansive stories in our galleries, particularly regarding the types of art consumed by the general populace in the Roman era and Venus’s critical role for women of that time. I encourage you to view this exquisite piece in person if you have not already. It is prominently displayed in Gallery 150—the area that connects the Modern Wing to the Rice Building—situated near the marble sculptures of Venus and a much older marble figure, dating nearly 3,000 years back from the Cycladic Islands, which possibly represents a pregnant woman.
In this gallery, these three sculptures engage in a visual dialogue, showcasing the ancient focus on the female form and its significant associations with fertility and renewal.
