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Venere Callipigia Afrodite Statua in Porcellana di Capodimonte
Venere Callipigia Afrodite Statua in Porcellana di Capodimonte cm 32
Venere Callipigia Afrodite Statua in Porcellana di Capodimonte
Venere Callipigia Afrodite Statua in Porcellana di Capodimonte
Venere Callipigia Afrodite Statua in Porcellana di Capodimonte cm 32
Venere Callipigia Afrodite Statua in Porcellana di Capodimonte cm 32
Venere Callipigia Afrodite Statua in Porcellana di Capodimonte cm 32
Venere Callipigia Afrodite Statua in Porcellana di Capodimonte cm 32

Venus Callipygia Aphrodite Capodimonte Porcelain Statue 32 cm

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  • Material: Capodimonte porcelain
  • Dimensions: Height 32 cm x Width 13 cm x Depth 10 cm
  • Weight: 0.8 Kg

 

Venus Aphrodite Callipygian Capodimonte Porcelain reproduction of a copy Roman from the bronze original Greek from the II century BC, Archaeological Museum, Naples.

Venus Aphrodite Callipygia (in Greek 'with beautiful buttocks') the goddess of beauty shows its refined and perfect forms softly reproduced in marble. An ideal according to the canons of ancient Greece. 

Produced in Italy

Venus Callipygia of the Archaeological Museum of Naples is reproduced, in this small statuette in Procellana di Capodimente, precisely respecting theharmony and beauty of the original thanks to new technologies.

Scan 3D and additive printing enables the canons codified by Polykleitos to remain absolutely unchanged even in scale reproductions thanks to mathematical detection the three-dimensional structure of the statue and the 3D printing.

There Golden Section and the precise arithmetic rules allowed the Greek and Roman sculptors to perfectly reproduce the harmony of the human body. In the scale reproductions executed from the eighteenth century onwards, the hand of the sculptors of the time intervenes, who were not always able to respect these rules. Statuettes that reproduced the doryphoros or other ancient masterpieces often only vaguely resembled the original work.


With the exceptional archaeological finds of Pompeii and Herculaneum in the 1700s they gave an exceptional boost to classic taste and at reproductions of ancient masterpieces. In that context King Charles III founded of Royal Factory of Capodimonte for the production of artifacts in porcelain. Excellent sculptors like Filippo Tagliolini, were called to celebrate the great archaeological discoveries found in the Domus of the rich Pompeians. The excellent porcelain artifacts of the Royal Factory became souvenir highly sought after by the European elites committed to theirs Voyage en Italie. V.iaggio that the rich noble and bourgeois families considered essential for a complete one training of young people, a trip to Italy of several months spent to assimilate the culture, art and beauty scattered throughout the peninsula.

Souvenirs from the 1700s are works of art today. The porcelain reproductions of Tagliolini are kept in the Capodimonte Museum for their excellent artistic quality which is independent from that of the original work.

   

Capodimonte Museum

Objects born as souvenirs are now considered works of art, hence a reflection on reproducibility in series of the work of art which does not find its first application in modernity as theorized by Walter Benjamin.

Already in Greek-Roman antiquity the works of art of the great sculptors were reproduced in series thanks to the technology of bronze casting and spread to be enjoyed and admired throughout the ancient world.


Reproductions, made to celebrate a deity or an emperor are now considered works of art. In fact, the value of a work of art is independent of the media that carries it, whether it is marble or bronze (or porcelain) but resides in theidea that the artist conceived dela divinity, the emperor or the athlete and who finds his materialization in sculpture. If this sculpture comes reproduced countless times the size of the artwork is not reduced.

Therefore an object can be considered a work of art both in the original work and in its reproduction

If today we can admire the art of Polykleitos, the idea, the vision that he had of man, of the harmony of the human body is thanks to one of the many reproductions that have come down to us. The reproduction itself is a work of art.

Self the reproductions ancient of the Doryphoros they are considered works of art because they correctly reproduce the art of Polykleitos in the same way a modern reproduction, if equally faithful, it must be considered a work of art.

Modern reproductions are works of art to the extent that they are able to correctly convey the idea conceived by the artist and this certainly happens if realized through the 3D technologies or by casting from the original. Works, not by the author of the reproduction but by the artist who generated the idea.

The Venus Callipygia was made of Capodimonte Porcelain starting from a mathematical model, the result of a laser scan, printed in 3D.

Porcelain was made by The Bourbons a factory that carries on the excellence of the tradition of the Royal Factory of Capodimonte,

An object capable of satisfy the desire to own a great work of art, just as the biscuits of the Real Fabbrica di Capodimonte were desired by the cultured travelers of the Grand Tour nineteenth century


 

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