Research Paper on:
Venus de Milo's Sublime Sculpture

Unformatted Sample Text from the Research Paper:
emotion in beauty and art. Ruskins theoretical formulations of the sublime changed during the writing of ModernPainters, and the course of this change is an index of his attempts to  find place for the disordering, subjective elements of emotion in his aesthetic system. Ruskin felt a need to explain, that sublimity is not a specific term, -- not a  term descriptive of the effect of a particular class of ideas. Anything, which elevates the mind is sublime, and elevation of mind is produced by the contemplation of greatness of  all kinds.... Sublimity is, therefore, only another word for the effect of greatness upon the feelings; -- greatness, whether of matter, space, power, virtue, or beauty.... The sublime is not  distinct from what is beautiful, nor from other sources of pleasure in art, but is only a particular mode and manifestation of them. (3.128,130)  In the Hellenistic period (c323-327 BC) extremes of all  kinds occurred. Great strides were made in mathematics and astronomy. However Greece continued to suffer political decline, and one by one Greek processions fell to Rome. Sculpture reached a  high point of sensuality and complexity of emotion; the expressions showed nuances of feeling. This period of sensuality saw the female nude join the male nude as a major  art form. At this time female nudity was rare in Greece, particularly if the subject was nobility, and not at all if it was a goddess (http://www.hart.k 12.ca.us/valencia/directory/jmarcucilli/page/Notes/greeklatehellenic.htm). This  particular Venus has been endlessly copied and studied, largely due to her serene expression, high breasts, and calm pose. Her complex and slightly turned form, adds a flow and