“Venus” (or Woman) of Willendorf, c. 24,000–22,000 B.C.E., limestone, 11.1 cm high (Naturhistorisches Museum, Vienna; photo: Steven Zucker, CC BY-NC-SA 2.0)
Can a 25,000-year-old object be a work of art?
The artifact known as the Venus of Willendorf dates to between 24,000–22,000 B.C.E., making it one of the oldest and most famous surviving works of art. But what does it mean to be a work of art?
The Oxford English Dictionary, perhaps the authority on the English language, defines the word “art” as
the application of skill to the arts of imitation and design, painting, engraving, sculpture, architecture; the cultivation of these in its principles, practice, and results; the skillful production of the beautiful in visible forms.
Some of the words and phrases that stand out within this definition include “application of skill,” “imitation,” and “beautiful.” By this definition, the concept of “art” involves the use of skill to create an object that contains some appreciation of aesthetics. The object is not only made, it is made with an attempt of creating something that contains elements of beauty.
anything made by human art and workmanship; an artificial product. In Archaeol[ogy] applied to the rude products of aboriginal workmanship as distinguished from natural remains.
“Venus” (or Woman) of Willendorf, c. 24,000–22,000 B.C.E., limestone 11.1 cm high (Naturhistorisches Museum, Vienna; photo: Steven Zucker, CC BY-NC-SA 2.0)
Artifact, then, is anything created by humankind, and art is a particular kind of artifact, a group of objects under the broad umbrella of artifact, in which beauty has been achieved through the application of skills. Think of the average plastic spoon: a uniform white color, mass produced, and unremarkable in just about every way. While it serves a function—say, for example, to stir your hot chocolate—the person who designed it likely did so without any real dedication or commitment to making this utilitarian object beautiful. You have likely never lovingly gazed at a plastic spoon and remarked, “Wow! Now that’s a beautiful spoon!” This is in contrast to a silver spoon you might purchase at Tiffany & Co. While their spoon could just as well stir cream into your morning coffee, it was skillfully designed by a person who attempted to make it aesthetically pleasing; note the elegant bend of the handle, the gentle luster of the metal, the graceful slope of the bowl.
Venus of Willendorf (NHMW-Prae 44.686) by Natural History Museum Vienna on Sketchfab
These terms are important to bear in mind when analyzing prehistoric art. While it is unlikely people from the Upper Paleolithic period cared to conceptualize what it meant to make art or to be an artist, it cannot be denied that the objects they created were made with skill, were often made as a way of imitating the world around them, and were made with a particular care to create something beautiful. They likely represent, for the Paleolithic peoples who created them, objects made with great competence and with a particular interest in aesthetics.
Caves and pockets
“Venus” (or Woman) of Willendorf,, c. 24,000–22,000 B.C.E., limestone 11.1 cm high (Naturhistorisches Museum, Vienna; photo: Steven Zucker, CC BY-NC-SA 2.0)
Two main types of Upper Paleolithic art have survived. The first we can classify as permanently located works found on the walls within caves. Mostly unknown prior to the final decades of the nineteenth century, many such sites have now been discovered throughout much of southern Europe and have provided historians and archaeologists new insights into humankind millennia prior to the creation of writing. The subjects of these works vary: we may observe a variety of geometric motifs, many types of flora and fauna, and the occasional human figure. They also fluctuate in size; ranging from several inches to large-scale compositions that span many feet in length.
The second category of Paleolithic art may be called portable since these works are generally of a small-scale—a logical size given the nomadic nature of Paleolithic peoples. Despite their often diminutive size, the creation of these portable objects signifies a remarkable allocation of time and effort. As such, these figurines were significant enough to take along during the nomadic wanderings of their Paleolithic creators.
The Venus of Willendorf is a perfect example of this. Josef Szombathy, an Austro-Hungarian archaeologist, discovered this work in 1908 outside the small Austrian village of Willendorf. Although generally projected in art history classrooms to be several feet tall, this limestone figurine is petite in size. She measures just under 11.1 cm high, and could fit comfortably in the palm of your hand. This small scale allowed whoever carved (or, perhaps owned) this figurine to carry it during their nearly daily nomadic travels in search of food.
Naming and dating
Clearly, the Paleolithic sculptor who made this small figurine would never have named it the Venus of Willendorf. Venus was the name of the Roman goddess of love and ideal beauty. When discovered outside the Austrian village of Willendorf, scholars mistakenly assumed that this figure was likewise a goddess of love and beauty. There is absolutely no evidence though that the Venus of Willendorf shared a function similar to its classically inspired namesake. However incorrect the name may be, it has endured and tells us more about those who found her than those who made her.
Dating too can be a problem, especially since Prehistoric art, by definition, has no written record. In fact, the definition of the word prehistoric is that written language did not yet exist, so the creator of the Venus of Willendorf could not have incised “Bob made this in the year 24,000 B.C.E.” on the back. In addition, stone artifacts present a special problem since we are interested in the date that the stone was carved, not the date of the material itself. Despite these hurdles, art historians and archaeologists attempt to establish dates for prehistoric finds through two processes. The first is called relative dating and the second involves an examination of the stratification of an object’s discovery.
Relative dating is an easily understood process that involves stylistically comparing an object whose date is uncertain to other objects whose dates have been firmly established. By correctly fitting the unknown object into this stylistic chronology, scholars can find a very general chronological date for an object. A simple example can illustrate this method. The first Chevrolet Corvette was sold during the 1953 model year, and this particular car has gone through numerous iterations up to its most recent version. If presented with pictures of the Corvette’s development from every five years to establish the stylistic development from its earliest model to the most recent (for example, images from the 1953, 1958, 1963, and all the way to the current model), you would have a general idea of the changes the car underwent over time. If then given a picture of a Corvette from an unknown year, you could, on the basis of stylistic analysis, generally place it within the visual chronology of this car with some accuracy. The Corvette is a convenient example, but the same exercise could be applied to iPods, Coca-Cola bottles, suits, or any other object that changes over time.
Plan of the excavation at Willendorf I in 1908 with the position of the figurine.
What did it mean?
Detail, “Venus” (or Woman) of Willendorf,, c. 24,000–22,000 B.C.E., limestone 11.1 cm high (Naturhistorisches Museum, Vienna; photo: Steven Zucker, CC BY-NC-SA 2.0)
In contrast, the sculptor placed scant attention on the non-reproductive parts of her body. This is particularly noticeable in the figure’s limbs, where there is little emphasis placed on musculature or anatomical accuracy. We may infer from the small size of her feet that she was not meant to be free-standing and was either meant to be carried or placed lying down. The artist carved the figure’s upper arms along her upper torso, and her lower arms are only barely visible, resting upon the top of her breasts. As enigmatic as the lack of attention to her limbs is, the absence of attention to the face is even more striking. No eyes, nose, ears, or mouth remain visible. Instead, our attention is drawn to seven horizontal bands that wrap in concentric circles from the crown of her head. Some scholars have suggested her head is obscured by a knit cap pulled downward, others suggest that these forms may represent braided or beaded hair and that her face, perhaps once painted, is angled downward.
If the face was purposefully obscured, the Paleolithic sculptor may have created, not a portrait of a particular person, but rather a representation of the reproductive and child rearing aspects of a woman. In combination with the emphasis on the breasts and pubic area, it seems likely that the Venus of Willendorf had a function that related to fertility.
The Venus of Willendorf is only one example of dozens of Paleolithic figures that may have been associated with fertility. Nevertheless, it retains a place of prominence within the history of human art.
