Venus of Willendorf as shown at the Naturhistorisches Museum in Vienna, Austria, in January 2020.
The Venus of Willendorf, discovered in 1908, has undergone consistent reinterpretation since its excavation. The small figure itself stands at 11.1cm high and is intricately carved from oolite, a type of limestone native to Northern Italy. Dating back to roughly 25,000 BCE during the Palaeolithic period, the Venus of Willendorf was crafted during a time in which permanent human settlements were scarce to none. The majority of human societies lead nomadic lifestyles prior to the agricultural revolution, engaging in a hunter/gatherer system of survival. With this historical background in mind, the influences and exposure of the Venus of Willendorf to surrounding and passing human nomadic groups becomes quite clear.
Since its excavation from a Central Austrian archaeological site in 1908, the Venus of Willendorf has been examined by thousands, including historians, students, or those who simply pass her exhibit by. Through these interpretations a general consensus regarding the figure’s purpose and the value embedded in her detail has been reached. The figure herself is undoubtedly a representation of a woman, her body round with a clear emphasis on the parts necessary for childbearing. Key features include her large breasts, protruding stomach, full hips, and buttocks, carved with great detail and size in comparison to her feeble head and limbs. The intricate detailing of her genitalia underpins a deeply rooted value in the female ability to give birth and the cultural value placed on fertility in relation to beauty.
Parallel with this interpretation is the influential idea that the true beauty of a woman as depicted by the Venus of Willendorf, is in her potential to bear children. In the historical context of the Palaeolithic period it was common to associate heavy, or obese bodies with beauty and power. This goes for both nomadic groups and permanent settlements struggling with insufficient food sources. Those who were fed best and most had the capacity to lead, survive, and reproduce more efficiently than their malnourished counterparts. This begs the question, was the Venus of Willendorf intended as a representation of the ideal, beautiful, and fertile body? The answer based on the aforementioned consensus of her observers is yes. however , it is critical to consider the biases of those who this interpretation stemmed from.in writing the prehistory of this period and examining the Venus of Willendorf herself, the ways in which previous historians made sense of her purpose and meaning directly impact the collective interpretation and leave very little room to stray. With no way of fully understanding the intent behind the figurine through writing or oral tradition, there is no clarity in these hypotheses. That being said it is almost undeniable that the Venus is anything but a beautiful woman, one whose influence directly impacted the standard of beauty, or rather the standard of an ideal mate in the Palaeolithic period.
In regard to her global influence, the Venus of Willendorf is not unique. Based on the existence of similar figures such as the Venus of Dolni Vestonice or the Venus of Hohle Fels, it is abundantly clear that this ideal of beauty and fertility was not confined to one specific area or group of people. These figures, and many more have been excavated in regions including the French Alps, Northern Italy, and the Pyrenees Mountains. All evidence considered, the Venus of Willendorf represents the intricacies of Palaeolithic art and the evolution of nomadic cultural ideas surrounding beauty and fertility, as well as the spread of materials and artistic techniques used to depict such ideals.
