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The Nike of Samothrace, also known as the Victory of Samothrace, was discovered on April 15, 1863 on the northern Greek island of Samothrace in the Aegean Sea (Hamiaux and Marmois). The Nike of Samothrace is an eight-foot tall sculpture of the goddess Victory landing onto the prow of a ship and has an approximate date of 190-160 B.C.E (“The Hellenistic Period”). This piece could possibly commemorate a naval victory over Syria; the true reason and artist are unknown. (“The Hellenistic Period”). The goddess’ wings are extended outward and her drapery blows in the wind as it presses closely to her body. It is now displayed in The Louvre in Paris, France (Astier). This sculpture is important to remind people of the power of the human body and that victory can be achieved.<!--more-->

The Hellenistic Period was approximately 323-30 B.C.E. It began with the death of Alexander the Great, who had expanded Greece’s empire to the borders of modern day India. When he died, the empire split into three segments: Egypt, Persia, and Macedonia- Greece (Fiero B1.130). There was constant battling for territory during this era. Since the exact date or sculptor is not known for the Nike of Samothrace, there is prospect that it was erected in honor of the last naval victory in 190 B.C. when a Syrian dynasty known as the Seleucids were defeated by the Rhodian navy (Fiero B1.134).

The goddess Nike was the daughter of the Titans, Pallas and Styx and her siblings were Kratos (strength), Bia (force), and Zelos (rivalry). She helped Zeus eliminate the Titans from Mt. Olympus and was honored the title of “goddess of victory” by Zeus (“The Hellenistic Period”). Nike is associated with victories in athletics, battle, or other significant contests.

This work was typical of the Hellenistic era because during this time, sculptors used new techniques to show patterns of dark and light, body movements, and a bigger range of details that were expressive. The sculpture of Nike of Samothrace is best viewed “from a three-quarter left view” and the right side is plain (Hamiaux and Marmois). There was more emotion in the artwork and the subjects of sculptors expanded to include all age groups of people (Fiero B1.134). There were more sensuous, celebratory views on the nude male and female. Art was more realistic and not idealized like it was in the Hellenic era (Fiero B1.134). The Nike of Samothrace celebrates femininity by showing off the female body. The chiton, a common article of clothing in Ancient Greece, is portrayed as being wet from the water from the sea and is hugging the body tightly as the excess cloth is flowing in the wind. Her stance is at a twisting angle as though she is landing from the air onto the prow and stabilizing herself. The posture is proud, tall, and shows no fear.

The Nike of Samothrace is innovative for its time because it is a sensuous, triumphant structure that portrays a goddess as a more realistic figure. With close attention to detail, the unknown artist sculpted the chiton in just the right way to be tightly clinging to the skin, due to the moisture from the ocean spray, and it flows down the figure’s body and in between her legs (“Nike of Samothrace”). Her stomach and parts of her upper chest are not covered, so it is slightly sexual. The excess of the cloth hangs down or flows in the wind behind the sculpture to express the triumph. The drapery of cloth the artist created on the winged goddess made the piece unique from other sculptures of the Hellenistic era.

Since there is so much unknown about the artist, creation date, and true reason for the sculpture’s creation, it is hard to pinpoint a specific, true statement of the reaction of how people received this piece of art back in Ancient Greece. If the statue was indeed built to commemorate the Rhodian naval victory over the Syrians, then it would be received by the Rhodians with pride, gratefulness, and honor (“Nike of Samothrace”). After the powerful win, there would be a united spirit of victory. The Rhodians would be very emotional and appreciative of the statue because if the battle had been lost, their homes, territory, and lives could have been lost, too. The Nike of Samothrace is a symbol for “victory,” so her presence would commemorate the physical and moral excellence, or arête (“Nike of Samothrace”).

Today, viewers still find this statue powerful. It is located on the grand staircase landing of the Louvre Museum. “Her large size, dramatic forward motion, and location in the museum attract much attention” (“Nike of Samothrace”). Walking into the Louvre and looking up the stairs, the statue stands tall. The large outstretched wings radiate a powerful and triumphant feeling. When close to the figure, her pose is highly effective. Although the feet were not retrieved, the positioning has been recreated; her right foot barely skimming the boat’s deck while her left foot is still in the air as she comes down from flight (Hamiaux and Marmois). Although viewers today were not alive at the time the sculpture was erected and did not have a direct experience with it, it still causes amazement and feelings of victorious spirit when studied.

When I viewed the Nike of Samothrace, I immediately noticed its grandeur and size. I also noticed that it was missing parts: the head, arms, and feet. Without a face showing emotion or arms to show a gesture, I did not believe that the sculpture would have such an emotional expression and be as dramatic as it is. The stature the figure is positioned in combined with the effects of the damp chiton draped down its body instilled awe in me when I studied it. The sea spray that hit the goddess left the cloth wet and pressed close to her skin. It shows the detail of the goddess’ body. Some of the cloth is falling down in between her legs and exposes her stomach and parts of her leg while the rest flows behind her in the wind. The Nike goddess is just landing down from the sky onto the boat. It’s upright, open posture and expanded wings show courage and triumph; it made me feel in a way feel proud. The sculpture made me feel that I could be strong and accomplish something.

Another Hellenistic sculpture was Laocoön and His Sons. This sculpture captures the scene of Laocoön and his two sons resisting an attack by sea serpents, which had been ordered to attack by the gods who favored the Achaeans (Fiero B1.134). Laocoön had tried to reveal to the Trojans that the Greek wooden horse, or ruse, had many Achaean soldiers in it that would conquer Troy and end the Trojan War (Fiero B1.134). As the three men are entangled within the snakes, their muscles are flexing and stretching and their faces express struggle. The Nike of Samothrace is headless, but still has a powerful impact and shows emotion, too. The poses of both statues shows how placement of the human body and the way it is portrayed can have an effect on the viewer. Both sculptures appear life-like and full of expression, unlike structures in the preceding Hellenic era.

Both the Nike of Samothrace and Laocoön and His Sons show some nudity; the body can be appreciated greater. Whether it be showing off the smooth flat stomach of the goddess or showing off Laocoön’s abdominal muscles at work, both proudly reveal the beauty of the human body. Both have some sort of cloth draping down or hanging from their bodies. The skin that is uncovered by the cloth in both sculptures shows the natural state of the body and reveals the muscles or curves of both genders.

The Nike of Samothrace is still a breath-taking piece of art to see today. From this work, it is important for future generations to know the importance of posture, body language, clothing attire, and context. The upright, courageous posture of the goddess expresses confidence and victory. The way her body is landing onto the ship shows the energy of her forward movement (Hamiaux and Marmois). The outspread wings show the power of the goddess and express a triumphant, open spirit. The gusting wind is holding the draped clothing against the goddess’ body as the rest is folding down and flowing in the wind. The cloth “both clings and billows dramatically” (“Nike of Samothrace”). The context of fighting for territories during the Hellenistic era and the victory expressed through this sculpture shows how artists capture the events occurring at the time through art. The Nike of Samothrace was commemorating some victory, though the exact battle is unknown. It is key to preserve this sculpture in order to show the importance of triumph and honor.

Works Cited

Astier, Marie-Benedicte. "Greek, Etruscan, and Roman Antiquities." <em>Louvre</em>. Musee de Louvre, 2005. Web. 14 Feb 2011. &lt;http://www.louvre.fr/llv/oeuvres/detail_notice.jsp?CONTENT%3C%3Ecnt_id=10134198673225805&amp;CURRENT_LLV_NOTICE%3C%3Ecnt_id=10134198673225805&amp;FOLDER%3C%3Efolder_id=9852723696500817&amp;bmLocale=en&gt;.

Fiero, Gloria K. <em>The Humanistic Tradition</em>. 6th. McGraw-Hill, 2011. B1.130-134. eBook. (Fiero B1.130-134)

Hamiaux, Marianne, and Sophie Marmois. "Winged Victory of Samothrace." <em>A Closer Look at the Victory of Samothrace</em>. Opixido, Oct 2008. Web. 15 Feb 2011. &lt;http://www.louvre.fr/templates/llv/flash/victoiredesamothrace/victoiredesamothrace_acc_en.html&gt;. (Hamiaux, and Marmois)

"Nike of Samothrace." <em>Museum of Art and Archaeology</em>. The Curators of the University of Missouri, 08 Oct 2010. Web. 14 Feb 2011. &lt;http://maa.missouri.edu/objects/castgallery/castNikeSamothrace.html&gt;. ("Museum of Art and Archaeology")

"The Hellenistic Period." <em>Arts and Humanities Through the Eras</em>. Ed. Edward I. Bleiberg, et al. Vol. 2: Ancient Greece and Rome 1200 B.C.E.-476 C.E.. Detroit: Gale, 2005. 420-425. <em>Gale Virtual Reference Library</em>. Web. 15 Feb. 2011.