Statues Venus Aphrodite Callipygia reproduction in Capodimonte porcelain of a copy Roman from the bronze original greco from the 2nd century BC, Archaeological Museum, Naples.
Venus Aphrodite Callipygia (Greek for 'beautiful buttocks'), the goddess of beauty, shows its refined and perfect shapes softly reproduced in marble. An ideal according to the canons of ancient Greece.
- Material: Capodimonte porcelain
- Dimensions: Height 32 cm x Larg.13 cm x Deep.10 cm
- Weight: 0.8 Kg
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Produced in Italy
Venus Callipygia of the Archaeological Museum of Naples is reproduced, in this small statuette in Capodimente procellana, precisely respecting theharmony and beauty of the original thanks to new technologies.
Scan 3D and additive printing allows ai canoni codificati of Polycleto to remain absolutely unchanged even in scale reproductions thanks to the mathematical detection of the three-dimensional structure of the statue and 3D printing.
There Golden section and the precise arithmetical rules allowed the perfect reproduction of the harmony of the human body by the Greek and Roman sculptors. In scale reproductions performed 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.
The extraordinary archaeological finds of Pompeii and Herculaneum in the 18th century gave an exceptional boost to classic taste and at reproductions of ancient masterpieces. In that context Re Carlo III he founded the Royal Factory of Capodimonte for the production of manufactured articles in porcelain. Excellent sculptors like Philip Tagliolini, were called a celebrate great archaeological discoveries found in the Domus of wealthy Pompeians. The excellent porcelain artifacts of the Royal Factory became souvenir highly sought after by the European elites engaged in theirs Journey to Italie. INjourney that rich noble and middle-class families considered essential for a complete training of young people, a trip to Italy of several months spent assimilating the culture, art and beauty scattered throughout the peninsula.
Souvenirs from the 18th century are works of art today. The porcelain reproductions of Tagliolini are kept in the Capodimonte Museum for their excellent artistic quality which goes beyond that of the original work.
Objects born as souvenirs are now considered works of art, hence a reflection on serial reproducibility of the work of art which does not find its first application in modernity as theorized by Walter Benjamin.
Already in Greco-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 today considered works of art. In fact, the value of a work of art is independent of the medium that conveys it, whether it is marble or bronze (or porcelain) but resides in theidea that the artist conceived of the divinity, of the emperor or of the athlete and who finds his materialization in sculpture. If this sculpture comes reproduced innumerable Sometimes 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 Policleto, the idea, the vision 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.
Se the plays ancient Doryphoros they are considered works of art because they correctly return the art of Polycletus in the same way modern reproduction, if equally faithful, must be considered a work of art.
Modern reproductions are works of art to the extent that they are able to correctly return the idea conceived by the artist and this certainly happens if realized through the 3D technologies or by tracing from the original. Works, not by the author of the reproduction but by the artist who generated the idea.
Venus Callipygia was made in Capodimonte porcelain starting from a mathematical model, the result of a laser scan, printed in 3D.
The 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 Royal Factory of Capodimonte were desired by the cultured travelers of the Grand Tour nineteenth century