INTRODUCTION

Venus of Willendorf, also called Woman of Willendorf or Nude Woman,

Upper Paleolithic female figurine found in 1908 at Willendorf, Austria, that is perhaps the
most familiar of some 40 small portable human figures (mostly female) that had been found
intact or nearly so by the early 21st century. (Roughly 80 more exist as fragments or partial
figures.) The statuette—made of oolitic limestone tinted with red ochre pigment—is dated
to circa 28,000–25,000 BCE. At 4 3/8 inches (11.1 cm) high, it was easily transportable by
hand. Both its size (portability) and the material from which it was made (not found in
Willendorf) are indicators that the artifact was made elsewhere and carried to Willendorf.
Its arms, though visible, are negligible and crudely depicted. Though a head is present, the
only detail to be seen is a pattern representing a braid or cap; there are no facial features.
Feet too are missing and were probably never part of the overall design.
It has been suggested that she is a fertility figure, a good-luck totem, a mother
goddess symbol, or an aphrodisiac made by men for the appreciation of men. Further, one
researcher hypothesized that it was made by a woman and that “what has been seen as
evidence of obesity or adiposity is actually the foreshortening effect of self-inspection.”
Although much has been written about the Willendorf figurine, little other than the details
given in the paragraph above can be stated as fact.
The figurine, Woman of Willendorf is now in the Naturhistiriches Museum in Vienna,
Austria. It is carved from oolitic limestone that is not local to the area, and tinted with red
ochre. It is believed that the figure was carved during the Paleolithic Period, also known as
the “Old Stone Age”. This period of Prehistory started around 30000 before common era.
Several similar statuettes and other forms of art have been discovered, and they are
collectively referred to as Venus figurines, although they pre-date the mythological figure of
Venus by millennia
 CONTENT

1. Introduction
2. Content
3. Objective
4. Methodology
5. Result & Discussion
6. Conclusion
7. Reference
 OBJECTIVE

The researches done based on the title of the report “WOMEN OF WILLENDORF” is to :
1. Improve our knowledge on Upper Paleolithic art during Prehistoric period.

2. Identify the type of Prehistoric art done on Women of Willendorf.

3. Identify the art materials used on Women of Willendorf.

4. Study about the applications of elements of art on Women of Willendorf such as

line, form, colour and so on.

5. Study about applications of principles or art on Women of Willendorf such as

balance, proportion and so on.

6. Study the purpose, interpretion and secret stories behind the Women of Willendorf
based on its art characteristics formed by the artist.
 METHODOLOGY

To complete this report, I have used several methods in order to search for more
information about Women of Willendorf. The methods used are:
1. Internet
Some of the information are taken from online websites through internet. There
are some useful websites for research usage such as Wikipedia, Google, Youtube
and so on.

2. Reference Books
I also search for the information by reading reference books from library such as
Geoffrey Bibby (1956) The Testimony of the Spade, p.139, Alfred A. Knoff, New
York, Venus of Willendorf Christopher L. C. E. Witcombe, 2003, John J Reich;
Lawrence Cunningham (2013) Culture and Values: A Survey of the Humanities,
8th Ed., Andover, Belmont, CA ISBN 978-11-33-95122-3 and so on.

3. Lectures Notes
Lastly, I did my research based on the lecture notes given by our lecturer, Dr
Zulkifli Bin Muslim. The lecture notes are in the form of Powerpoint, there are
some informations about Women of Willendorf.
 RESULT & DISCUSSION

Upper Paleolithic Art

The Upper Paleolithic Period (beginning about 40,000 – 35,000 years ago) is
characterized by the emergence of regional stone tool industries such as the Perigordian,
Aurignacian, Solutrean, and Magdalenian of Europe, as well as other localized industries of
the Old World and the oldest known cultures of the New World. The tools typical of this
period were made from very long, thin flakes of stone (blades) and fashioned from materials
like bone, antler, ivory, and wood. The Upper Paleolithic is marked by a variety of
innovations and developments such as the appearance of the first anatomically modern
humans in Europe, more complicated structures, further plant and animal use, elaborate
burials, global migration, the beginnings of trade, widespread use of stone blades,
innovative new tools like the atlatl and bow and arrow, the domestication of the dog, and
the appearance of art and decoration.

A Venus figurine is any Upper Paleolithic statuette portraying a woman, although

the fewer images depicting men or figures of uncertain sex, and those in relief or engraved
on rock or stones are often discussed together. Most have been unearthed in Europe, but
others have been found as far away as Siberia, extending their distribution across much of
Eurasia, although with many gaps, such as the Mediterranean outside Italy.

Most of them date from the Gravettian period (26,000–21,000 years ago), but
examples exist as early as the Venus of Hohle Fels, which dates back at least 35,000 years to
the Aurignacian, and as late as the Venus of Monruz, from about 11,000 years ago in the
Magdalenian. These figurines were carved from soft stone (such as steatite, calcite or
limestone), bone or ivory, or formed of clay and fired. The latter are among the oldest
ceramics known. In total, some 144 such figurines are known; virtually all of modest size,
between 3 cm and 40 cm or more in height. They are some of the earliest works of
prehistoric art.

Most of them have small heads, wide hips, and legs that taper to a point. Various
figurines exaggerate the abdomen, hips, breasts, thighs, or vulva, although many do not,
and the concentration in popular accounts on those that do reflects modern preoccupations
rather than the range of actual artefacts. In contrast, arms and feet are often absent, and
the head is usually small and faceless. Depictions of hairstyles can be detailed, and
especially in Siberian examples, clothing or tattoos may be indicated.

The original cultural meaning and purpose of these artifacts is not known. It has frequently
been suggested that they may have served a ritual or symbolic function. There are widely
varying and speculative interpretations of their use or meaning: they have been seen as
religious figures, as erotic art or sex aids, or alternatively as self-depictions by female artists.
 Venus of Willendorf

For example, the Venus of Willendorf is an 11.1-centimetre-high (4.4 in) Venus

figurine estimated to have been made between about 28,000 and 25,000 BCE. It was found
in 1908 by a workman named Johann Veran or Josef Veram during excavations conducted
by archaeologists Josef Szombathy, Hugo Obermaier and Josef Bayer at a paleolithic site
near Willendorf, a village in Lower Austria near the town of Krems. It is carved from an
oolitic limestone that is not local to the area, and tinted with red ochre. The figurine is now
in the Naturhistorisches Museum in Vienna, Austria.
Art Materials
Below is a selected chronological list of important dates showing the development of
prehistoric art and culture from the Pliocene epoch, through the Lower, Middle and Upper
Paleothic eras of the Pleistocene epoch of the Stone Age, and reaching down to the
Mesolithic (or Epipalaeolithic), Neolithic, Bronze and Iron ages of the Holocene epoch. Not
content with simply making tools, Homo sapiens and later modern man created a huge
range of Stone Age art, beginning with primitive Acheulean culture petroglyphs - such as
cupules and rock carvings - and ending in stunning works of prehistoric sculpture (like the
venus figurines), and the beautiful Magdalenian era cave paintings of Altamira. Stone Age
artists used every sort of material they could find, ranging from rock-hard quartzite to softer
stones like steatite, serpentine, sandstone and limestone, as well as mammoth ivory,
reindeer antler, and animal bones. Art of the later Neolithic period is exemplified by
exquisite ceramics, magnificent early bronze and gold castings, and the monumental
architecture of the pyramids, ziggurats and megalithic structures of Newgrange and
Stonehenge. Brought to life thanks to the efforts of archeologists and paleoanthropologists,
the art of prehistory remains an integral chapter in the evolution of man.
 From the figure above, we can see that Women of Willendorf is sculpted form yellowish
limestone, tinted red by trace of ochre. The limestone rock from which the Venus of
Willendorf could have been made, came from an unexpected location. The limestones is
often called oolite, and is composed of millimetre-sized calcoliths (skeletons of tiny sea
creatures). Only on the Stránská Skála, a limestone massif in the city area of Brno (Brünn),
can an identical rock type be found. This places the origin of the stone for the Venus at this
precise location.

 Oolite
Oolite or oölite (egg stone) is a sedimentary rock formed from ooids, spherical grains
composed of concentric layers. The name derives from the Ancient Greek word ᾠόν for egg.
Strictly, oolites consist of ooids of diameter 0.25–2 mm; rocks composed of ooids larger
than 2 mm are called pisolites. The term oolith can refer to oolite or individual

 Limestone
Limestone is a sedimentary rock, composed mainly of skeletal fragments of marine
organisms such as coral, forams and molluscs. Its major materials are the minerals calcite
and aragonite, which are different crystal forms of calcium carbonate (CaCO3). — About
10% of sedimentary rocks are limestones. The solubility of limestone in water and weak acid
  Ochre
Ochre is a natural earth pigment containing hydrated iron oxide, which ranges in
colour from yellow to deep orange or brown. It is also the name of the colours
produced by this pigment, especially a light brownish-yellow. A variant of ochre
containing a large amount of hematite, or dehydrated iron oxide, has a reddish tint
known as "red ochre" (or, in some dialects, ruddle).

Principles of Art
The principles of art include balance, proportion, emphasis, variety, movement,
rhythm and harmony. They are used to organize the basic elements of art: line, shape, form,
value, color, space and texture. They are sometimes also referred to as principles of
organization or design principles. Here we will discuss some of the basic elements from
principles of art based on the Woman of Willendorf artifact.
1. Element Of Art – Line
The lines around the artifact are most obviously horizontal adding a large illusion to
Venus of Willendorf’s body. Form the horizontal lines through the braided hair on
her head to the stomach it’s all parallel which in repetition shows elegance and
continuity.
There are lines from the height, width and depth of the artifact, for example, it is
roughly 11 centimeters in height and a maximum of 4 centimeters in width. There
are straights lines, swirly lines, thick and thin lines.
2. Element of Art - Symmetry
The symmetry of Venus again hints that she may not have been based upon a
real person as the artifact is too perfect. Possibly there could be an unrealistic
portrayal of the women posing for the artifact although we understand
perfection is something seen in gods and goddesses. This gives us good clues to
reinforce that Venus of Willendorf was created as an idol from a prefect,
symmetrical, idealistic goddess.

From the artifact, we can clearly see that it is mad in the symmetrical way. Both
side are the same.
3. Element of Art - Form
The artifact is roughly 11 centimetres in height and a maximum of 4 centimetres in
width. Sculpted from yellowish limestone, tinted red by traces of ochre, the stumpy
female figure features pendulous breasts, an obese middle and belly, and
pronounced buttocks. In all a realistic representation of a severely overweight
woman. There is no facial detail as her head is being almost completely covered by a
braided pattern, and the feel appear to be broken off, while the belly button and
valva are clearly defined.
The artifact shown previously is a form because it consists of height, width and
depth. It is a three-dimensional form and it encloses volume. It was created majority
with organic forms (for example the head, breasts and hips)

4. Element of Art Space

The space used in this artifact projects out implying open space as it fills the 3D
space.
5. Element of Art - Colour
The artifact is not painted nor coloured, only the limestone of a clay coloured quality
is visible. However, there is a great deal of evidence showing the entire surface was
once painted with red ochre and analysis shows that the entire figure was originally
painted red. The Venus of Willendorf was recorded to have been covered with a
thick layer of red ochre when she was found in 1908, however, it seems that
overzealous cleaning removed most of this covering. The small female figure was
most likely cultic or religious in function, carried by the band of Gravettian and it is
acknowledged that red ochre is often represented as a sacred colour and used in
burial rites. Many figurines were hidden in dwellings with some buried in small pits.
It seems plausible that the nomadic Stone Age hunters carried these small and
therefore portable 'idols' with them as they moved from camp to camp.
 Detail chest area with traces of red ocher in the skin folds.
6. Element of Art Texture
Texture of Venus of Willendorf is somewhat rough as was carved from porous
limestone many thousands of years ago. In the artifact, there is shiny and yet rocky
texture to it. We can see that the artifact has an uneven, rough and rocky surface.

Detail of head with inset showing the ooliths of the limestone

Principles of Art
The Woman of Willendorf has shown various principles of an:
1. Principle of Art - Value
Value is a term used to measure light in a dark design. It is the contrast between
black and white and all the tones in between. Value can be applied to color as well as
black and white. A clear distinction / material between a value is said to be the
contrast.
We can see that the bloated part of the sculpture is brighter than the shrink part of
the sculpture. For example, the stomach of the sculpture is brighter than the neck of
the sculpture.
2. Principle of Art - Emphasis
The artist took particular care to emphasize the artifact's breasts, which some
scholars suggest indicates that she is able to nurse a child. The artist also brought
deliberate attention to her pubic region. Apart from being female, the artifact has an
enlarged stomach and breasts, its pubic area is greatly emphasized, probably serving
as a representative of procreativity, In contrast, the sculptor placed scant attention
on the non- reproductive parts of its body, This is particularly noticeable in the
figure’s limbs, where is little emphasis placed on musculature or anatomical
accuracy.

The depth of the carving varies as sections such as the head are lightly carved. Whilst
the parts of the body such as the breasts and buttocks are deeply carved to show
exaggeration and to highlight the most important parts of the artifact.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.
3. Principle of Art - Balance
As a basic principle of art (specifically of design), the definition of balance refers to
the ways in which the elements (lines, shapes, colors textures, etc.) of a piece are
arranged.
 The Woman of Willendorf is symmetrically balanced. The features on the left side
and the right side are the same in this artifact. A symmetrically balanced artifact is
more stable than those which are not stable.
4. Principle of Art Proportion
The Woman of Willendorf is well -proportioned. The size of every part of the artifact
are fit with each other. All the parts are related in size.
5. Principle of Art-Unity
Unity is the relationship among the elements of a visual that helps all the elements
function together. Unity gives a sense of oneness to a visual image. In other words,
the words and the images work together to create meaning. For example, the
composition of this sculpture is balanced and has good space, form and texture. All
of these form an unity of the sculpture.
6. Principle of Art Contrast
Contrast is a principle of art. When defining it, art experts refer to the arrangement
of opposite elements (for example, light vs. dark colors, rough vs. smooth textures,
large vs. small shapes, etc.) in a piece so as to create visual interest, excitement and
drama.
From the sculpture, we can find there's a contrast in the form of brightness between
light and dark colour. For example, the darkness of the stomach hole area and the
brightness of the stomach area shows a contrast.
Purpose and Interpretion
This artifact is an important icon of prehistory. Archeologists have suggested many
different ways of understanding its significance for the nomadic society which made it. The
first suggestion is that it was a “Venus figure" or "Goddess," used as a symbol of fertility.
Apart from being female, the artifact has an enlarged stomach and breasts, its pubic area is
greatly emphasized, probably serving as a of procreativity, and the red ochre pigment
covering it has been thought to symbolize or serve as menstrual blood seen as a life giving
agent. The second suggestion is that the artifact may have served as a good luck charm. Its
diminutive size led archaeologists to assume that it may have been carried by the men
during their hunting missions in which it served not only as a reminder of their mate back at
home but also as a charm to bring them success in their hunting This is further strengthened
by the facelessness of the artifact giving it an air of mystery and anonymity which suggests
that it may have been of more importance as am object rather than as a person. Also, the
artifacts hair is braided in seven concertric circles, seven in later times being regarded as a
magic number used to bring about luck. A third possible significance put forth is that of the
artifact serving as a monher goddess (earth mother or female deity). This comes from a
suggestion that the statue was a woman whose specialness was indicated in her obesity
sinee women in a hunter gatherer society would probably not have had opportunity to get
as obese.
 CONCLUSION

As a conclusion, Woman of Willendorf not only have shown various elements

of art such as line, form, colour and so on, it also have shown various principles of art such
as emphasis, balance and proportion.
After study the details about the Woman of Willendorf, I've improved my own
knowledge on Upper Paleolithic an during Prehistoric period. Besides, I also manage to
identify the art materials used on Women of Willendorf which is limestone called oolite and
ochre. I have gained knowledge about the purpose, interpretion and secret stories behind
the Women of Willendorf based on its art characteristics formed by the artist.
Lastly, I should be thankful for the artifacts that still exist so that I still can learn and
do more research. This artifacts should be preserve and protect to make sure the new
generation can learn about the prehistoric and mysterious art.
 REFERENCE

Internet
1. http://www.donsmaps.com/willendorf.html
2. https://www.khanacademy.org/humanities/prehistoric-art/paleolithic-art/a/venus-
of-willendorf
3. http://artandarchaeology.blogspot.my/2006/03/venus-of-willendorf-limestone-
circa_21.html
4. http://www.jameskettlewell.com/willendorf.html
5. http://www.visual-arts-cork.com/prehistoric/venus-of-willendorf.htm
6. https://en.wikipedia.org/wiki/Venus_of_Willendorf
7. http://char.txa.cornell.edu/language/principl/principl.htm
8. https://en.wikipedia.org/wiki/Art_of_the_Upper_Paleolithic
9. http://www.originsnet.org/mindup.html
10. https://wikivisually.com/wiki/Venus_of_Willendorf
11. http://www.visual-arts-cork.com/prehistoric-art-timeline.htm
12. https://www.youtube.com/watch?v=ENAZqOoOVaI
13. https://en.wikipedia.org/wiki/Oolite
14. https://en.wikipedia.org/wiki/Limestone
15. https://en.wikipedia.org/wiki/Ochre
16. http://study.com/academy/lesson/what-are-the-principles-of-art-definition-
examples.html

Reference Book
1. Geoffrey Bibby (1956) The Testimony of the Spade, p.139, Alfred A. Knoff, New York
2. Venus of Willendorf Christopher L. C. E. Witcombe, 2003
3. John J Reich; Lawrence Cunningham (2013) Culture and Values: A Survey of the
Humanities, 8th Ed., Andover, Belmont, CA ISBN 978-11-33-95122-3
 SESI 2017/2018
HISTORY AND DESIGN APPRECIATION ASSIGNMENT 1
TOPIC: PREHISTORIC PERIOD

TITLE: WOMEN OF WILLENDORF

COURSE: HISTORY AND DESIGN APPRECIATION
COURSE CODE: IND 3300
LECTURER: DR. ZULKIFLI BIN MUSLIM
STUDENT: MOHAMAD IZZAT BIN MOHAMAD SABRI (194345)