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I choose to use the original name (Venus) instead of Woman because this particular piece, and pieces like it, speak of the divine feminine in all women. It is a celebration of the fullness of what a woman is; body, spirit, capability, and compassion. Goddess.

Veneration of the female form exists at all levels of human occupation on this planet. I have to believe it's because we all know, deep down, that life doesn't exist without us.

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Venus of Willendorf is an Upper Paleolithic Limestone Sculpture created between 28000BCE and 25000BCE. It lives at the Vienna Museum of Natural History in Vienna. The image is used according to Educational Fair Use, and tagged Fertility, Women,

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Something happened between the caves and the farming villages; the depictions became over-simplified and geometric. With the introduction of perspective and mathematical scaling, we see a more "logical" approach to rendering forms. I'm including this piece because it is the opposite of joyful fullness. To me, it screams patriarchy. The minimalization of feminine features mirrors the minimalization of a woman's place in the power of the world. While I can appreciate the new approach, I am less than thrilled by the result.

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“Said to be from Paros, but more likely to be from Naxos” (Preziosi in Antiquities from the collection of Christos G. Bastis, 1987, p. 121)

[Until 1947, with Nicolas Koutoulakis, Paris]; 1947, purchased by Christos G. Bastis from Nicolas Koutoulakis; acquired in 1968, gift of Christos G. Bastis.

von Bothmer, Dietrich. 1965. "Greek and Roman Art." Notable Acquisitions (Metropolitan Museum of Art), No. 1965/1975: p. 114.

von Bothmer, Dietrich. 1969. "Reports of the Departments." Bulletin of the Metropolitan Museum of Art, 28(2): p. 78.

Rousseau, Theodore. 1970. "Masterpieces of Fifty Centuries." The Metropolitan Museum of Art Bulletin, 29(3): p. 129.

Thimme, Jürgen. 1976. Kunst und Kultur der Kykladeninseln im 3. Jahrtausend v. Chr.: Ausstellung unter d. Patronat des International Council of Museums ICOM im Karlsruher Schloss vom 25. Juni-10. Oktober 1976. no. 166, pp. 465–66, Karlsruhe: Müller.

Badisches Landesmuseum Karlsruhe. 1977. Art and Culture of the Cyclades in the Third Millennium B.C., Brinna Otto and Jürgen Thimme, eds. no. 166 , p. 468, Chicago: University of Chicago Press.

Metropolitan Museum of Art. 1979. Greek Art of the Aegean Islands. no. 15, pp. 58–59, New York: The Metropolitan Museum of Art.

von Bothmer, Dietrich, Bernard V. Bothmer, Pat Getz-Preziosi, Diana Buitron-Oliver, and Andrew Oliver, Jr. 1987. Antiquities from the Collection of Christos G. Bastis, Emma Swan Hall, ed. no. B, pp. 316–17, figs. B1-B4, Mainz on Rhine: Verlag Philipp von Zabern.

Metropolitan Museum of Art. 1987. Greece and Rome. p. 7, New York: The Metropolitan Museum of Art.

Getz-Preziosi, Pat. 1987. Sculptors of the Cyclades: Individual and Tradition in the Third Millennium B.C.. pp. 108–12, 162, fig. 46c, 47b, d, pls. 38, 39, Ann Arbor: University of Michigan Press.

Hendrix, Elizabeth. 1997. "Painted Ladies of the Early Bronze Age." Bulletin of the Metropolitan Museum of Art, 55(3): pp. 11–15, figs. 13–16.

Mertens, Joan R. 1998. "Some Long Thoughts on Early Cycladic Sculpture." Metropolitan Museum Journal, 33: pp. 10–1, fig. 7.

Mertens, Joan R. 1998. "Some Long Thoughts on Early Cycladic Sculpture." Metropolitan Museum Journal, 33: pp. 10–11, fig. 7.

Getz-Preziosi, Pat. 2001. Personal Styles in Early Cycladic Sculpture. p. 177, pls. 77c, 78c, Madison: University of Wisconsin Press.

Mertens, Joan R. 2002. "Cycladic Art in the Metropolitan Museum. Antecedents and Acquisitions." Silent Witnesses: Early Cycladic Art of the Third Millennium BC, Christos G. Doumas, ed. p. 16, fig. f, New York: Alexander S. Onassis Public Benefit Foundation (USA), Inc.

Picón, Carlos A. 2007. Art of the Classical World in the Metropolitan Museum of Art: Greece, Cyprus, Etruria, Rome no. 6, pp. 33, 410, New York: The Metropolitan Museum of Art.

Metropolitan Museum of Art. 2017. The Artist Project : What Artists See When They Look at Art. pp. 202–3, New York.

Metropolitan Museum of Art. 2020. ART = Discovering Infinite Connections in Art History. pp. 033, 264, New York: Phaidon Press.

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Attributed to the Bastis Master | Marble female figure | Cycladic | Early Cycladic II | The Metropolitan Museum of Art

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“Said to be from Paros, but more likely to be from Naxos” (Preziosi in Antiquities from the collection of Christos G. Bastis, 1987, p. 121)

[Until 1947, with Nicolas Koutoulakis, Paris]; 1947, purchased by Christos G

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In my opinion, true art happens when one brings into existence something that has never happened before. Brunelleschi did exactly that with the building of this dome. He literally invented the equipment and processes that would enable his vision to become reality. I'm in awe of his confidence, his perseverance, and his dedication to seeing this project to completion. When no one believes in you, the path forward is hard.

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Throughout the Mycenean and Egyptian eras, women were featured less and less as the power of men was exalted. By the time of the ancients Greeks, when men were being depicted in all their anatomical magnificence, the women were now fully covered; their bodies only vaguely hinted at under layers of folds and flowing fabrics. As the aggressive power of men overwhelmed history, women literally faded from view.