Welcome to “Art, Culture & Books” with me Anthony King. Today I’ll be taking you on a video and photographic tour of the Second century AD Aphrodite or ‘Crouching Venus’ at the British Museum in London. We’ve visited many a Venus on my channel but I think that this might be my favourite of all. There is something about the placement of the statue, which is so visible and also it’s height. When I was a child I was also so impressed that this was on loan from Queen Elizabeth – I found that impressive and very kind of her I remember thinking!
As always, I take all the photos and videos myself on location, ensuring you get an up-close and personal view of the fascinating world of art and culture. I’ll be popping in and out with commentary as this video progresses but for now let’s take a close up look.
In 1649, the “Lely Venus” joined the collection posthumously, following the execution of Charles I. This marble replica depicts Aphrodite caught by surprise during her bath and is commonly referred to as the “Crouching Venus” dating back to approximately 100 AD.
Aphrodite, the ancient Greek goddess synonymous with Venus in Roman mythology, held dominion over love, beauty, desire, sex, fertility, prosperity, and victory.
Named ‘Lely’s Venus’ after the acquisition by the painter Sir Peter Lely (1618-80), the statue found its way back into the Royal Collection after Lely’s death.
Charles I, renowned for his passion for Roman antiquities, acquired the marble statue portraying Aphrodite in a crouching pose during the Antonine period (2nd century AD). This Roman interpretation is based on a Hellenistic original from 200 BC. The sculpture captures Aphrodite’s nude form in a crouching posture, with loosely gathered hair and a captivating pose.
Listed in the Commonwealth Sale Inventory of 1650 as ’88: Sellena hole figure bigger than ye life £600′ (we not the hole wwas written h, o l and e) after Charles I’s execution, the statue underwent a relocation in 1902 from Kensington Palace to Windsor Castle. It found a designated place in the Orangery and since 1963, it has been on extended loan to the British Museum where we see it today.
By Anthony King (c)