Reproduction with hand patina. Mold made from an impression of the original work exhibited in the Louvre.
Discovered at the end of the 19th century on the island of Samothrace, this sculpture was made to commemorate a maritime victory. The extraordinary virtuosity of the drapery creates the power of the work and the illusion of movement that animates it; the Victory seems to land on the bow.
3D technology was used to faithfully reproduce this reduction and to integrate the latest restorations made on the original.
The Winged Victory of Samothrace: History and Symbolism
Discovered in 1863 in the Sanctuary of the Great Gods on Samothrace, this 3.28-meter-tall statue depicts Nike, the winged goddess of Victory. Erected in the early 2nd century B.C., it is generally interpreted as a votive offering celebrating a naval victory, likely donated by the Rhodians. Carved from Parian marble, the goddess stands majestically on the prow of a ship, her wings spread.
The extraordinary virtuosity of the drapery creates the illusion of movement: the form-fitting garment reveals the arched body through its transparency, while the folds undulate and unfurl into a flowing train. This Hellenistic work blends classical references with Baroque theatricality, foreshadowing the sculptural boldness of Pergamon.
To learn more about the work
Where is the head of the Winged Victory of Samothrace?
The head of the Winged Victory has never been found since its discovery in 1863. Among the many fragments unearthed on Samothrace, none match the head, neck, or arms. Champoiseau returned to the island in 1879 but was unsuccessful. Only the right hand was identified during subsequent excavations. Despite numerous archaeological campaigns, the head remains missing, lending this sculpture its distinctive air of mystery.
Who sculpted the Winged Victory of Samothrace?
The artist remains anonymous. The statue is attributed to a Rhodian sculptor from the early 2nd century B.C. A fragment of an inscription mentioning "...S RHODIOS," discovered nearby in 1891, has led several researchers to suggest that the work originated in Rhodes. In 1931, historian Hermann Thiersch proposed the name Pythocritos of Rhodes. However, this attribution remains hypothetical. The sculptor mastered the art of drapery and belonged to the Hellenistic tradition that foreshadowed the Pergamon Baroque style.
