“The statue now from darkness saved returns, To see the stronghold of Rome’s second life.”, quoted from a poem of Jacobus Sadoletus on the statue of Laocoon. The discovery of Laocoon brought upon a revolution in Renaissance Rome. However, the exact origin of it is still unbeknownst to man. Despite the various theories, I have chosen to believe that the Laocoon Group stems from the Greek Hellenistic period. In this report, I will be touching on an introduction of the sculpture relating to its culture and period, an analysis of it supported with significant characteristics that explains and differentiates it from other periods and lastly, the artistic style of it that reflects the period’s cultures, over arcing with reasons for my argument on
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(Vout, 2010) It can be described as a transition or reaction from the Greek classical style where perfection was a focal element. The study of anatomy was greatly improved from the Classical style, as seen in the anatomical details of the Laocoon group. Muscular movements are significant in the sculpture, with protruding muscles at appropriate parts of the body, like how a real human muscle will react when moved or strained. Portraiture of emotions, age and race also play a part in the construction of the Laocoon group. The sculpture’s frontal view is dominant and twists are observed. This was one significant trait of the Hellenistic period as it highly differs from the early periods where statues were presented with four fixed views. Emotions like pain, anguish and agony can be seen evidently from the sculpture’s faces as well, differing from the neutral faces of the Classical times. It can be deduced that the Laocoon and his sons sculpture embodies most, if not all, of the Hellenistic period’s characteristics. This explains why many examples uses the Laocoon group as an exemplary example of Hellenistic art style, and why it leans towards being a Greek Hellenistic art …show more content…
During the Classical period, there were little depiction of a child in three-dimensional surface. (Vout, 2010) However, with the introduction of the Hellenistic period, many various styles of children were introduced. In this case, for Laocoon and His Sons, the two sons with bodies twisting, one older than the other, observed from the height, are fighting for their lives from the snake. The twisting bodies and in depth sculpt of the children is another Hellenistic feature. Maria H Loh describes unearthed pieces of Laocoon as “twisting, curving, stretching” followed by “facial expression that crystallises into a contorted scream”. (Loh, 2011) The cry of Laocoon is a noticeable feature. Wicklemann states that, “no visual cry is raised, as Vergil sings of his Laocoon: the opening of the mouth does not allow it”. Some argue that the opening of the mouth breathed life into the statue, (Loh, 2011) making it almost to the brink of moving, whilst others argue that the opening slit of the mouth is merely a sigh. (Lessing, 2005) From the look of the mouth, it resembles either a groan or a sigh as compared to a full-fledged scream, showing how the sculptor did not follow Vergil’s Laocoon exactly. Some other characteristics of it do not match Vergil’s Laocoon as well, leading some to believe that it could just be used to symbolize an emotion like agony. (Kubale,
(Vout, 2010) It can be described as a transition or reaction from the Greek classical style where perfection was a focal element. The study of anatomy was greatly improved from the Classical style, as seen in the anatomical details of the Laocoon group. Muscular movements are significant in the sculpture, with protruding muscles at appropriate parts of the body, like how a real human muscle will react when moved or strained. Portraiture of emotions, age and race also play a part in the construction of the Laocoon group. The sculpture’s frontal view is dominant and twists are observed. This was one significant trait of the Hellenistic period as it highly differs from the early periods where statues were presented with four fixed views. Emotions like pain, anguish and agony can be seen evidently from the sculpture’s faces as well, differing from the neutral faces of the Classical times. It can be deduced that the Laocoon and his sons sculpture embodies most, if not all, of the Hellenistic period’s characteristics. This explains why many examples uses the Laocoon group as an exemplary example of Hellenistic art style, and why it leans towards being a Greek Hellenistic art …show more content…
During the Classical period, there were little depiction of a child in three-dimensional surface. (Vout, 2010) However, with the introduction of the Hellenistic period, many various styles of children were introduced. In this case, for Laocoon and His Sons, the two sons with bodies twisting, one older than the other, observed from the height, are fighting for their lives from the snake. The twisting bodies and in depth sculpt of the children is another Hellenistic feature. Maria H Loh describes unearthed pieces of Laocoon as “twisting, curving, stretching” followed by “facial expression that crystallises into a contorted scream”. (Loh, 2011) The cry of Laocoon is a noticeable feature. Wicklemann states that, “no visual cry is raised, as Vergil sings of his Laocoon: the opening of the mouth does not allow it”. Some argue that the opening of the mouth breathed life into the statue, (Loh, 2011) making it almost to the brink of moving, whilst others argue that the opening slit of the mouth is merely a sigh. (Lessing, 2005) From the look of the mouth, it resembles either a groan or a sigh as compared to a full-fledged scream, showing how the sculptor did not follow Vergil’s Laocoon exactly. Some other characteristics of it do not match Vergil’s Laocoon as well, leading some to believe that it could just be used to symbolize an emotion like agony. (Kubale,