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Laocoön and His Sons create the impression of astonishing beauty while observing the scene of dying and stumbling Istaknut

Hellenistic sculpture Laocoön and His Sons, or Laocoön Group represented, in condensed form, all the aesthetic properties that Michelangelo was striving to create in the Italian renaissance context. The original attribution by the Roman author Pliny the Elder is that it was the collaborative project of three sculptors from the island of Rhodes, namely Agesander, Athenodorus and Polydorus, and probably dates from around 42 - 20 BC. It was found in 1516, in Rome, near the town of Nero's Domus Aurea or the Golden House. This sculpture is housed in the Vatican Museum in Rome.

While the sculpture of Laocoön and His Sons was well-preserved for a work unearthed after nearly 1500 years, several pieces were lacking: Laocoön's right arm, part of the hand of the elder son, the right arm of the younger son, several segments of the serpents, and the back of the altar was of different marble. In 1510 an informal contest was held among artists inviting suggestions, of which Raphael was to be the judge, for the restoration of Laocoön's right arm. The sculptor and the architect Jacopo Sansovino, best known for works on the Piazza San Marco in Venice, won the contest with his suggestion of a heroically outstretched arm; Michelangelo had suggested that the missing arm should be bent backward to the shoulder. Years later an even more outstretched arm was added to the figure of Laocoön and the younger son's arm and missing parts of the serpents were added in later centuries.

The sculpture Laocoön and His Sons is made up of white marble and has a height of approximately 208 centimeters. It depicts mythical Laocoön and His Sons as victims in the process of rescuing themselves from the serpents. The figure of Laocoön is prominent both because of its central position and also because of the muscular power of its imposing body. He has become powerless among the coils of the serpent and supports himself with his left leg projecting to touch the ground with the toes of his foot, while the right leg is bent to touch the steps on the base of the altar. The younger son is completely enwrapped by the coils of the second serpent and he raises his right arm in a final tremor. The elder brother, to his left, turns with a look of horror toward his father and seems about to free his ankle from the tail of the second serpent.

The sculptor showed the physical effort of the three figures in a desperate attempt to free themselves from the grip of the serpents. This effort is expressed by mutually opposing, tearing lines of force. The bodies twitch wrapped in serpents and the musculature is strongly emphasized to express internal tension. Laocoön's body expresses defeat, agony, and fear at his weakest state. The faces of the figures express strong emotions and great pain. Laocoön's pain is seen not only on his face but is revealed in almost every muscle and vein of his body. This pain, however, manifests itself without any sign of anger on the face, other parts of the body, or in its position. Laocoön's expression has been described as either restrained and dignified or as the ultimate depiction of physical and psychological pain.

Pročitano 109 puta Poslednji put izmenjeno Petak, 04 Juni 2021 11:27

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