Greek, Etruscan, and Roman Antiquities. Praxiteles was the first Greek sculptor who dared create representations of the female nude. He worked in the 4th century B.C. and remains one of the most famous artists of Antiquity. Curated by Alain Pasquier and Jean-Luc Martinez.
Greek, Etruscan, and Roman Antiquities
Curated by Alain Pasquier and Jean-Luc Martinez
The first Greek sculptor to dare to represent the female nude
in monumental statuary, Praxiteles today remains one of the
most celebrated artists of antiquity. His renown alone would be
ample justification for the presentation of a monographic exhibition
dedicated to his oeuvre. However, the difficulties raised
by archaeological exploration necessitate a refinement of this
approach: although the exhibition is organized with the aim of
offering, to the highest extent possible, a survey of Praxiteles’
career as a sculptor, it is above all an invitation to focus on the
marks left on the history of art by this elusive figure, in order
to arrive at a better understanding of Praxiteles and his art.
The exhibition brings together for the first time the largest possible
number of works in marble and bronze that can fairly be
claimed to be characteristic of his style, so as to allow visitors
to contemplate the various images, placed in historiographic
perspective, that have been given of this great master over the
centuries, from antiquity to the present, thus illuminating a
Praxiteles sometimes idealized, often imagined, and whom we
hope in the end to have rediscovered.
No major exhibition devoted to Greek and Roman statuary has
ever been presented in France, despite its importance in the
development of Western artistic forms, although two recent
European events applying a monographic approach to an
ancient artist have shown how this might be done: an exhibition
dedicated to Polykleitos was presented in Germany (Liebighaus,
Frankfurt, 1990) and a large body of works were assembled in
Italy in order to represent the career of Lysippos (Palazzo delle
Esposizioni, 1995). Following upon these previous successes,
and emboldened by the honor of holding within its collections a
large number of marble works (all recently restored) that have
been associated, either closely or distantly, with Praxiteles, the
Louvre could thus organize, by supplementing this sizable core
derived from its own collections with around 100 works loaned
by several other European museums, an exhibition designed to
celebrate the esteemed creator of works as illustrious as the
Aphrodite of Knidos, Apollo Sauroktonos (The Lizard-Slayer)
and the Eros at Thespiae.
Furthermore, the opportunity to present such an exhibition is
particularly of interest at this time due to the debates which have
arisen within Praxitelean studies during the last two decades.
Taking as their basis the seminal analyses of A. Furtwängler and
W. Klein, more recent researchers have occasionally refuted
certain attributions thought to be definitive, but have also
proposed new ones, thus creating areas of contention which are
underscored by the exhibition, as contributing to an overall
appreciation of the importance of Praxiteles.
Exhibition curators:
Alain Pasquier, Curator in Charge, Department of Greek, Etruscan
and Roman Antiquities, musée du Louvre, and Jean-Luc Martinez,
Chief Curator, Department of Greek, Etruscan and Roman Antiquities,
musée du Louvre.
The translation into Greek of this exhibition’s didactic
panels was made possible thanks to the generous sponsorship
of the Lambrakis Foundation.
A voyage through time, from the 4th century B.C. to the present, this exhibition seeks to rediscover
Praxiteles and is organized into six sections, each of which corresponds to a period in history during which
the influence of the artist is particularly present. Apart from its scientific perspective, the exhibition also
serves as an introduction to Greek sculpture, an area with which most Westerners have at least passing
familiarity but often limited real knowledge.
In order to bring to the forefront the multi-faceted field of Praxitelean studies, the rotunda was selected as
the setting for a bronze Aphrodite, of the same type as the Aphrodite of Knidos, in its main lines bearing
Praxiteles’ footprint, as well as several display cases presenting ancient books and coins. This confrontation
illustrates the two poles, less contradictory than is commonly thought, between which our knowledge of
Praxiteles oscillates: legend and history.
The bronze Aphrodite, a modern work cast in the 16th century
under the direction of Primaticcio, embodies the image, the idea of Praxiteles handed down through generations
of European artists, as the inventor of a statuary type whose importance no longer needs to be demonstrated:
the female nude. The numismatic and literary sources presented in the display cases are the only
surviving and reliable historical records that we may use to supplement our understanding of the sculptor,
since virtually all of his works fell victim to the ravages of time or the vicissitudes of history.
I - Praxiteles Rediscovered
The inscriptions and the sources allow us to state with confidence that Praxiteles was born in Athens, into a
family forming a genuine dynasty of sculptors. However, what we know of his later life is cobbled together
from just a few anecdotes, as told by various Greek or Latin sources, in which legend often takes precedence
over history. This is the case for his intimate relations with Phryne, the celebrated courtesan who was
also, it is said, one of his models. Praxiteles probably lived between 400 and 330 B.C., reaching the height
of his career as a sculptor around 360 B.C. While most of Greek monumental sculpture consists of bronzes,
Praxiteles preferred to work in marble—two-thirds of his creations were marble pieces—and he was a veritable
genius in this material, responsible in large measure for the widespread fame of the startlingly white
Paros marble. This first section of the exhibition seeks to focus on the “original” works by the artist, in
other words works that date from the known period of activity of Praxiteles and his school. Two works in
marble shown here, positively identified as dating from the 4th century B.C., are today considered as
bearing the marks of his style: the Mantinea Base (Monument to Leto and Her Children), a bas-relief decorating
the base of one of the master’s sculptures, and a badly damaged head, larger than life scale, representing
an Artemis, recently identified by G. Despinis and which has seriously unsettled the received
perception of the artist, questioning former certainties. This piece may in fact be the head of the Artemis
Brauronia spoken of by Pausanias and which, prior to this discovery, we had thought of as corresponding
to the same statuary type as the Diana of Gabies, the perfect embodiment of Praxitelean style as it is generally
understood.
II - In Search of Praxiteles: Considering Several Types Represented in the Texts, Coins and Reproductions
To the great fortune of archaeologists and art historians, the Romans were quite enamored of the work of
Praxiteles. This fascination inspired them first to bring back to Rome a certain number of his works to
populate their forums, palaces and gardens. But this plunder soon proved inadequate to keep pace with
demand. Roman artists therefore began to create copies of the most renowned statues. These Roman copies,
which greatly furthered our appreciation of Greek sculpture, constitute the majority of the works on display
in the exhibition. For certain Greek models, the exhibition includes a number of marble works reproducing
the same subject, thus providing a unique opportunity to compare and contrast these copies. This approach
is particularly enlightening when applied to statuary types that we may attribute to Praxiteles by virtue of
evidence derived from the sources, such as the Apollo Sauroktonos, the Resting Satyr and the Aphrodite of
Knidos, the first female nude in Greek monumental sculpture and for this reason the most celebrated statue
of antiquity. The fundamental issue raised here and developed throughout the remainder of the exhibition is
that Praxitelean style is difficult to pin down. By studying the copies, through comparisons, and by investigating
other sources, researchers strive to recognize the specific characteristics that best reflect the lost
original.
III - In the Manner of Praxiteles: Hellenistic and Roman Creations Inspired by the Master
Beginning in the 3rd century B.C., Praxiteles’ influence on later sculptors was considerable, but Greek and
Roman artists did not limit themselves to making reproductions of the master’s works. Drawing inspiration
from his style, they began to sculpt in the manner of Praxiteles, borrowing only certain characteristics,
combining them with their own stylistic touches, resulting in statues offering a mere echo of the master’s
style. Four groupings allow visitors to better appreciate this new development in the appreciation of
Praxiteles, each raising a specific issue in the quest to rediscover his art: Diana of Gabies (female heads
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inspired by Praxiteles), Eros of Centocelle (classical recreations), works by Pasiteles and Stephanos (the
Praxitelean style in Rome), and the Apollino (creations inspired by Praxiteles and classical models).
IV - Praxiteles Imagined
Leaving antiquity behind, this section of the exhibition deals with Praxiteles in modernity and the question
of the modern history of ancient works, in other words the narrative of their rediscovery, reception and
restoration. Although Primaticcio created an Aphrodite of the same type as the Aphrodite of Knidos, he,
like all his contemporaries, knew nothing of Praxiteles. If it was during the 17th century that connections
were established between the marble fragments and ancient literary texts, the major turning point for
studies of ancient art only occurred in the 18th century.
Six works, produced between the 16th and the 19th centuries, further our understanding of how an ancient
marble statue can give rise to one in the Mannerist, Classical, Neoclassical or Academic style. The
“contamination” of the original marble by the style of the period, as had already been the case for the
creations inspired by Praxiteles in the Hellenistic and Roman periods, demonstrates to what extent there is
no direct connection in modern times with the style of Praxiteles. These recreative restorations reveal a
Praxiteles who, with the benefit of hindsight and recent studies, we can now consider as misunderstood or
idealized. And the success, in the 19th century, of the story of Phryne probably represents the crowning
touch completing this fantasy vision of the artist. Over and above the tantalizing legend, it is the influence
of this popular theme on archaeologists which is particularly of interest: Phryne became the most celebrated
woman in Paris, and researchers tirelessly sought to identify which of the marble heads sculpted by
Praxiteles, according to the sources, bore a portrait of the courtesan.
V - The Contested Career of Praxiteles: A 19th Century Debate
This fifth section attempts to reconstitute Praxiteles’ career as imagined in the 19th century, notably by
A. Fürtwangler. During this period, it was considered that the activity of an artist was chiefly to be divided
between works of youth and those of maturity. For Praxiteles, the first category would include, for instance,
the Venus of Arles, the Pouring Satyr or the Dresden Artemis; the second would encompass works such as
the Olympia Hermes, the Sardanapalus, as well as a series of works representing the Muses.
This broad categorization and generous approach to attribution are contested by today’s scholars of ancient
art. The presentation within the exhibition of the majority of the known copies of the works mentioned
above offers the potential to enrich studies of these different statuary types, all of which share the same
predicament, namely whether or not they should be included within the oeuvre of Praxiteles.
VI - Current Research Topics: The Satyr of Mazara del Vallo - A new attribution ?
The exhibition closes with the paradoxical presentation of a work which, although spectacular and beautiful,
does not seem to be rightfully attributed to Praxiteles. However, in keeping with the concept of the
exhibition, also shared by its catalogue, which is to attempt a synthesis of all that is known about Praxiteles,
it was deemed important to present to the public the most recent case debated by scholars studying
Praxiteles, that of the Satyr of Mazara del Vallo. This bronze, dragged to the surface in pieces by fishermen
from this Sicilian village in 1997, is considered by Paolo Moreno, the curator of the Lysippos exhibition in
1995, to be an original work by Praxiteles. His attribution is nevertheless quite far from being accepted by
all specialists.
Musée du Louvre
Under the pyramide - Paris
Open daily except Tuesdays from 9 a.m. to 5:30 p.m., and until 10 p.m. on Wednesdays and Fridays evenings.
Ticket for the exhibition: 9.50 euros