4 - Venus Anadiomena. Inspired by the Aphrodite of Rhodes. France or Belgium, circa 1930.

Venus Anadiomena. Inspired by the Aphrodite of Rhodes. France or Belgium, circa 1930. Carved marble. It exhibits a patina typical of its age and surface variations in the marble’s tone. Measurements: 135 x 105 x 36 cm. This strikingly monumental sculpture revives one of the most evocative and enduring themes in the classical iconography of Aphrodite, depicted while bathing in a pose of intimate naturalness. Its closest formal precedent is the famous Crouching Aphrodite of Rhodes, housed in the Archaeological Museum of Rhodes, which draws on Hellenistic models of the kneeling goddess raising both arms to gather her hair. This gesture, in turn, ties into the extensive tradition of the Venus Anadiómena—a depiction of Aphrodite emerging from the sea—whose iconographic legacy dates back to the famous painting by Apelles and continues through successive artistic reinterpretations. This work brings together both traditions in a composition of singular balance, evident in the intricate interplay of the bent legs, the tilt of the head, and the movement of the hands through her hair. However, it transforms its ancient references through a greater refinement of the forms, a restrained sensuality, and a serene, idealized beauty. The figure reveals a careful study of anatomical relationships and compositional rhythm. The asymmetrical arrangement of the legs and the opening of the arms create a subtle counterpoint of curves and diagonals, lending harmony and naturalness to a pose of considerable sculptural complexity. The delicate modeling of the face, with its introspective expression, and the soft undulations of the hair accentuate the lyricism of the depiction, while the contrast between the polished surfaces of the body and the deep folds of the drapery crossing the hips highlights the quality of the marble work. This formal conception is part of the renewed appreciation of classical models that characterized certain European sculptural movements during the interwar period, in keeping with the so-called “return to order.” Its exceptional dimensions and the nobility of the material lend the work an imposing presence, in which the legacy of Antiquity is reinterpreted through a thoroughly modern sensibility.