In Greek mythology Aphrodite was a heroine and the Three Graces (Charites) were attendants, (cf. Hesiodos, Theogonia"; Homeros, "Odysseus," etc.) In Greek arts Aphrodite is usually shown, as the ideal female figure, (cf. Cnidian Venus, Capitoline Venus,. Medici Venus, etc.) But the two kinds of the Three Graces with which I deal in. this paper, namely a marble group in Siena and a relief in the Louvre, are considered to have unique character which could not befound in Aphrodite as a single figure. In these the Three Gracesare a group of three female figures. The central figure of the group is in back view and the other two figures in both sides are fronted, each figure entwining her arms with the others'. The unique composition seems to have been influenced by the traditional, representation. Kenneth Clark says "the complicated pose may be derived from a row of dancers with arms on each others' shoulders, front to back,, motive still common in Greek choreography. From this row some artist had the happy idea of cutting off three figures, to form a closed symmetrical group, and offering them as the sweet and charitable companions of Venus." However, when these three figures are cut off, the original motive is changed, for figures are never shown in any dancing action, but only as a group of figures simply standing casually together. In Aphrodite as a single figure, it was impossible to see its all sides from one view point at the same time. In contrast, the Three Graces theme permitted a panoramic treatment of the bodies, which were in effect one body seen from three different viewpoints, three variations on one theme. It should be a pictorial solution to represent three varying aspects of feminine beauty. Therefore in Renaissance paintings the theme was revived as a form suitable for representing female nude, as Raphael, Botticelli and Rubens did. "Bathers" painted frequently by Renoir in the 20th century, though called by various different titles, are regarded as a variation of the same motive.
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