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Venus of Madrid
Roman Sculptor
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Roman Sculptor

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Venus of Madrid

Ca. 150. White marble.
Room 072

This sculpture is a Roman copy of a Hellenistic original dating from the second-first century B.C. Stripped of the baroque additions that distorted it, it is part of a large cycle of Venuses linked by similar postures. The beginning of this type of sculpture would seem to lie in a work by Lysipus or his school known through a Roman copy: the Venus of Capua. In it, the goddess, with a nude torso, looks at her reflection in Ares´ shield, which she holds in both hands. Adaptations from the Second Century B.C. include the rather fleshier Venus of Milo, and the prototype from which the present work is derived, with a clothed torso. Similar figures, with diverse variations, continued to be made for Roman female portraits. These bore wings, as images of Victories, allowing them to be used on triumphal monuments.


Technical data

Related artworks

Venus of Madrid
Pencil on paper, Mid-XVIIIcentury
Ajello, Eutichio
Inventory number
Roman Sculptor
Venus of Madrid
Ca. 150
White marble
Height: 184 cm; Width: 68 cm; Base/bottom: 51 cm
Colección Cristina de Suecia
Collection of Queen Christina of Sweden; Collection of Livio Odescalchi; Royal Collection (Felipe V's collection, Palacio de La Granja de San Ildefonso, Segovia)

Bibliography +

Hübner, Emil, Die Antiken Bildwerke in Madrid, Druck Und Verlag Von Georg Reimer, Berlín, 1862, pp. 46.

Reinach, Salomon, Repertoire de la Statuaire Grecque et Romaine. Vol. I, Ernest Leroux, París, 1906, pp. 338.

Barrón, Eduardo, Catálogo de la escultura. Museo Nacional de Pintura y Escultura., Imprenta y fototipia J. Lacoste, Madrid, 1908, pp. 54-55, lám.XXXIII, n.44.

Ricard, Robert, Marbres Antiques du Musee du Prado a Madrid, Feret & Fils, Burdeos, 1923, pp. 50.

Museo Nacional del Prado, Catálogo de la escultura, Madrid, 1957, pp. 44.

Blanco Freijeiro, Antonio, Arte griego, Instituto Español de Arqueología, Madrid, 1966, pp. 262.

Blanco, Antonio; Lorente, Manuel, Catálogo de la escultura. Museo del Prado, Patronato Nacional de Museos, Madrid, 1981, pp. nº44.

Elvira Barba, Miguel Ángel, El Cuaderno de Ajello y las esculturas del Museo del Prado, Museo del Prado, Madrid, 1998, pp. 84.

Bajo el signo de Fortuna: esculturas clásicas del Museo del Prado, Museo Nacional del Prado, Madrid, 1999, pp. 33.

Museo Nacional del Prado, Escultura clásica: guía, Fundación Marcelino Botín; Museo del Prado, Santander, 1999, pp. 130.

Schröder, Stephan F., Catálogo de la escultura clásica: Museo del Prado, II, Museo Nacional del Prado, Madrid, 2004, pp. 383-388.

Schröder, S.; Elvira Barba, M.A, ''Eutichio Ajello (1711-1793) y su descripción de la célebre Real Galería de San Idelfonso'', Boletín del Museo del Prado, XXIV, 2006, pp. 40-88.

Corona y arqueología en el Siglo de las Luces, Patrimonio Nacional, 2010, pp. 85-93.

Maier Allende, J, Las antigüedades en Palacio: Ideología y función de las colecciones reales de arte antiguo en el siglo XVIII., Reales Sitios, XLVII, 2010, pp. 6-29.

Other inventories +

Inv. Real Museo, Sección Escultura, 1857. Núm. 778.
778. Una estatua que parece de Ceres de marmol griego. Faltan los brazos, y la cabeza esta muy estropeada. / Alto 6 pies, 6 pulg.

Location +

Room 072 (On Display)

Update date: 21-05-2022 | Registry created on 28-04-2015

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