Top 5 Most Famous Statues for Your Reference 

White marbles are often used for sculpting, whereas colorful marbles are used for several architectural and aesthetic applications. If not exposed to acid rain or saltwater, the degree of hardness is optimal for carving without excessive difficulty while producing a very durable product.

Famous individual kinds and quarries include Parian marble from Paros, which was used for the Venus de Milo and many other Ancient Greek sculptures, and Pentelic marble from near Athens, which was utilized by the Romans for the majority of the Parthenon statues.

Here are the top 5 most famous white statues for your reference.

Venus de Milo

The Venus de Milo is an ancient Greek sculpture that was created during the Hellenistic period. It is one of the most famous works of ancient Greek sculpture, having been prominently displayed at the Louvre Museum since shortly after the statue was rediscovered on the island of Milos, Greece, in 1820.

The Venus de Milo is believed to depict Aphrodite, the Greek goddess of love, whose Roman counterpart was Venus. Made of Parian marble, the statue is larger than life size, standing over 2 meters (6 ft 7 in) high. The statue is missing both arms, with part of one arm, as well as the original plinth, being lost after the statue's rediscovery.

Venus de Milo drawn by Auguste Debay. The inscribed plinth, if originally part of the Venus, identifies the sculptor as Alexandros of Antioch and dates the work to the Hellenistic period.

Discobolus of Myron

The Discobolus by Myron is an ancient Greek sculpture completed at the start of the Classical period in around 460–450 BC that depicts an ancient Greek athlete throwing a discus.

As a norm in Ancient Greek Ancient Greek athletics, the Discobolus is presented nude. His pose is considered unnatural to a human and is considered as per modern standards a rather inefficient way to throw the discus. Myron represents the body at the moment of its maximum tension and splendor. The body torsion is vigorous and, at the same time, harmonious and delicate. The torso shows no muscular strain, even though the limbs are outflung. The potential energy expressed in this sculpture's tightly wound pose, expressing the moment of stasis just before the release, is an example of the advancement of Classical sculpture from Archaic.

The statue is an example of rhythmos, harmony and balance. Myron is often credited with being the first sculptor to master this style. As Clark observed, "to a modern eye, it may seem that Myron's desire for perfection has made him suppress too rigorously the sense of strain in the individual muscles".

The first duplicate of this renowned work was unearthed in 1781, and it is thought to be a replica of a sculpture carved by Myron, an Athenian artist who flourished in the 5th century B.C. Many more variants of this specific statue have been found after it was found.

Laocoön and His Sons

The statue of Laocoön and His Sons has been one of the most famous ancient sculptures since it was excavated in Rome in 1506 and put on public display in the Vatican Museums, where it remains today. The statue is very likely the same one that was praised in the highest terms by Pliny the Elder, the main Roman writer on art. The figures in the statue are nearly life-sized, with the entire group measuring just over 2 m (6 ft 7 in) in height. The sculpture depicts the Trojan priest Laocoön and his sons Antiphantes and Thymbraeus being attacked by sea serpents.

The suffering shown in this statue offers no redemptive power or reward. The agony is conveyed through the contorted expressions on the faces, particularly Laocoön's bulging eyebrows, which were noted by Guillaume-Benjamin Duchenne as physiologically impossible. These expressions are mirrored in the struggling bodies, especially Laocoön's, with every part of his body shown straining. The dates suggested for the statue range from 200 BC to the 70s AD, with a Julio-Claudian date (27 BC to 68 AD) now being the preferred option. The statue is currently on display in the Museo Pio-Clementino, which is part of the Vatican Museums.

Dying Gaul

The Dying Gaul is an ancient Roman marble semi-recumbent statue now in the Capitoline Museums in Rome. It is a copy of a now lost sculpture from the Hellenistic period (323-31 BC) thought to have been made in bronze. The original may have been commissioned at some time between 230 and 220 BC by Attalus I of Pergamon to celebrate his victory over the Galatians, the Celtic or Gaulish people of parts of Anatolia. The original sculptor is believed to have been Epigonus, a court sculptor of the Attalid dynasty of Pergamon.

Until the 20th century the marble statue was usually known as The Dying Gladiator, on the assumption that it depicted a wounded gladiator in a Roman amphitheater. However, in the mid-19th century it was re-identified as a Gaul or Galatian and the present name "Dying Gaul" gradually achieved popular acceptance. The identification as a "barbarian" was evidenced for the figure's torc, thick hair and mustache, weapons and shield carved on the floor, and a type of Gallic carnyx between his legs.

David (Michelangelo)

David is a masterpiece of Italian Renaissance sculpture, created from 1501 to 1504 by Michelangelo. With a height of 5.17 meters (17 ft 0 in), the David was the first colossal marble statue made in the early modern period following classical antiquity, a precedent for the 16th century and beyond.

The biblical figure David was a favored subject in the art of Florence. Because of the nature of the figure it represented, the statue soon came to symbolize the defense of civil liberties embodied in the constitution of the Republic of Florence, an independent city-state threatened on all sides by more powerful rival states.

Watch more: What you didn’t know about the MOST FAMOUS statue | Michelangelo’s David

David has stood on display at Florence's Galleria dell'Accademia since 1873. In addition to the full-sized replica occupying the spot of the original in front of the Palazzo Vecchio, a bronze version overlooks Florence from the Piazzale Michelangelo. The plaster cast of David at the Victoria and Albert Museum has a detachable plaster fig leaf which is displayed nearby. Legend claims that the fig leaf was created in response to Queen Victoria's shock upon first viewing the statue's nudity, and was hung on the figure prior to royal visits, using two strategically placed hooks.

The statue is the best known and the most often reproduced of all the artistic works created in Florence. Reproductions have been made in plaster and in simulated marble fiberglass, signifying an attempt to lend an atmosphere of culture even in some unlikely settings such as beach resorts, gambling casinos and model railroads.

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