Across the human history the figure of women has occupied a main role in different cultures and eras. From divine figures to sexual figures, the social position of women has changed over time and with each new look, a new canon of beauty has also emerged for them.
28.000–25.000 BC
The Venus of Willendorf (figure 1), Austria, is not only one of the first women representation of the prehistory but one of the first demonstration of the human ability to represent life through the modeling of natural objects. We can’t say it is art since we do not know the cultural intentions of the first humans when representing this figure, but it is thought that it may be related to certain beliefs about fertilization, so it could be closer to a religious sculpture than to a work with artistic meaning.
Other Venuses have been found in different parts of the planet such as France, Turkey or South Africa. These do not focus on the woman’s face either, but on her breasts, hips and voluptuous belly, implying that they are also figures related to fertility, Venuses might even be representations of goddesses of fecundity.
6.000–3.100 BC
In the Predynastic Egypt we see a new representation of the women figure. A specimen found in a tomb (figure 2) is believed to be both a mourning figure and a connection to another life after death. It shows a dynamic woman, with detailed arms and fingers, she might be dancing or protecting. The face is still not an important element, but the way of conceiving her figure changes a lot from the old Venus, being a more triangular and slim figure but maintaining wide hips and booty.
450–100 BC
Found in 1820, on the Greek island of Milo and currently exhibited in the Louvre museum, the Venus de Milo (figure 3) represents the classical Greek beauty. Finally, face, hair and clothing appear. Clothes are considerably more defined than other Greek Venuses, the unusual corporeality and its soft and sensual work on Parisian marble give this piece a timeless beauty.
Its elaboration must have taken place between 130 and 100 BC, years corresponding to the Hellenistic period, but the artist has assumed the traits of the classical style of the 5th century BC. The piece follows the rules of Greek beauty, the eight heads and proportions based on the golden ratio, continuing the tradition of mathematical beauty that the Greeks believed in.
We can say that the beauty of women at this time begins to separate from its role as incubator and begins to be conceived as a divinity to be admired from all angles.
And will continue this path in future works over time.
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