Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Don’t take our word for it - see why 10 million students trust us with their essay needs.
The piece I decided to analyze is the famous sculpture, Laocoön and his two sons. I decided on this particular piece for a few reasons, one being the emotion we see on the subjects’ faces, and the other being the importance for future art. When I began this research I could not have possibly understood the relevance this piece had on the art that was yet to come.
The Hellenistic period of Greek art spans from the time of Alexander the Great’s death in 323 to 30 B.C.E. (“Hellenistic Period” 1). However there have been controversies of precisely how long the Hellenistic period lasted. Some argue that from C. 400; to the first century can be classified as “Pre-Hellenistic” (Janson 138-139). “Hellenistic, is a term meant to convey the spread of Greek civilization southeastward…” (Janson 138). However, within this broad range of Hellenistic art, there are sub categories. In 240 B.C.E, a new age of Hellenistic art came into focus, this was the Hellenistic “Baroque” period, this period of art introduced not only the full three dimensional quality of sculpture, but also sculpture in motion. They loved portraying not only struggles and violent action, but they also began to portray the ugly, and the old.(“Hellenistic Period” 1).
Laocoön and his two sons were found in 1506 on the Esquiline Hill in Rome (“Musei Vaticani – sito ufficiale”). When it was found Pope Julius the second, recognized it by the description he had seen in the writings of Pliny the Elder. This allowed the pope to recognize that the sculptors were Agesander, Athenodorus, and Polydorus of Rhodes. (Janson 147). The pope decided to display this piece along with others in what was once called the Cortile delle Statue, but what is now called the Octagonal Court inside ...
... middle of paper ...
...earn these things. How Laocoön and his two sons tell the story of Rome’s creation, and how they influenced the greatest artist of all time which in turn influenced one of his greatest creations.
Works Cited
Janson, H.W , and Anthony Janson. History or Art. Third Edition ed. New York: Harry N. Abram's Inc., 1986. Print.
"Musei Vaticani - Sito ufficiale." Musei Vaticani - Sito ufficiale. N.p., n.d. Web. 17 Apr. 2014. .
Sporre, Dennis J.. Reality through the arts. 8th ed. Hong Kong: Pearson Education, Inc., 2013. Print.
“The Hellenistic Period.” Arts and Humanities Through the Eras. Ed. Edward l. Bleiberg, et al. Vol.2: Ancient Greece and Rome 1200 B.C.E.-476 C.E. Detroit:Gale, 2005. 420-425. Student Resources in Context. Web. 17 Apr. 2014.
“The Vatican: spirit and art of Christian Rome”.. New York: Metropolitan Museum of Art :, 1982. Print.
Kleiner, Fred S. A History of Roman Art. Boston, MA: Wadsworth, Cengage Learning, 2010. Print.
In conclusion, although Mycerinus and Kha-merer-nebty II and Augustus of Primaporta, do appear very different, come from entirely different geographic regions and were separated by thousands of years, they do have many things in common. When we consider subject, style, and function; perhaps other works of art have more in common than they appear to have.
With works in every known medium, from every part of the world, throughout all points in history, exploring the vast collection of the Museum of Modern Art was an overwhelming experience. The objects in the Department of European Sculpture and Decorative Arts are an important historical collection, reflecting the development of a number of art forms in Western Europe. The department's holdings covered sculpture in many sizes, woodwork and furniture, ceramics and glass, jewelry, and tapestries. The gallery attracted my appreciation of the realistic qualities of the human body often portrayed in sculpture.
Hunt, Lynn and Thomas R. Martin, Barbara H. Rosenwein and Bonnie G. Smith. “ The Greek golden age,” in the making of the west volume 1 to 1750 2012, edited by Denise B. Wydra, 75-108. Boston: Beford/St. Martin’s, 2012.
...r. "Ancient Greece." Gardner's art through the ages the western perspective. 13th ed., Backpack ed. Boston, Mass.: Wadsworth Cengage Learning, 2010. 101, 123,129. Print.
different works of art influence one another. The article helps us see how all art is connected,
Paolucci, Antonio. The origins of Renaissance art: the Baptistery doors, Florence. New York: George Braziller, 1996.
...ity in Classical Athens. New York, NY: Alexander S. Onassis Public Benefit Foundation (USA) in Collaboration with the National Archaeological Museum, Athens, 2008. Print.
"Heilbrunn Timeline of Art History." John Frederick Kensett: Hudson River Scene (07.162). N.p., n.d. Web. 31 Mar. 2014.
Although both Roman and Greek civilizations shared similarities in the areas of art and literature, their differences were many and prominent. Their contrasting aspects rest mainly upon political systems and engineering progress, but there are also several small discrepancies that distinguish between these two societies. This essay will examine these differences and explain why, ultimately, Rome was the more advanced civilization of the two.
The Metropolitan. (2014). The Crucifixion Fra Angelico (Guido di Pietro) (Italian, Vicchio di Mugello ca. 1395–1455 Rome). In THE METROPOLITAN MUSEUM OF ART. Retrieved January 21, 2014, from http://www.metmuseum.org/Collections/search-the-collections/437007.
... Papacy since 1500: From Italian Prince to Universal Pastor. Cambridge: Cambridge UP, 2010. Print.
...ws the transition from archaic to the classical period. The Roman’s continued with a more realistic style with such statues as Aristocrat with Ancestors and Marcus Aurelius. In wall paintings at Pompeii the artists used great color and realism on the people’s faces.
Honour, Hugh, and John Fleming. "Hellenistic and Roman Art." A World History of Art. London: Laurence King, 1999. 179-213. Print.
Even the few sculptor’s names known to us, usually by chance, from the imperial period are Greek names and seem to confirm the assumption that these artists’ work should be regarded simply as a late phase of Greek art” (Hanfmann, 12). The Greeks were the first western culture to figure out how to accurately depict the human form which they did through the use of geometric ratios. It is also widely accepted that it was even Greek artists who first made marble portraits for the Romans as the Romans originally had no skill with the stone. “It was certainly at first Greek artists who were entrusted by eminent Romans with the execution of portraits of themselves and of important personalities in the Roman state, just as it was Greeks who depicted Aemilius Paulus victory at Pydna and later were largely responsible for the portraits of the emperors” (Kahler 16). The Romans mainly used terracotta for their sculptures and it was only when Augustus reigned that the marble quarries at Carrara were opened and marble was used on a large scale. The Romans inherited the use of realistic proportions, the sense of movement (contrapposto), and the overall beauty of Greek sculptures. A great example of Roman sculpture that was clearly carved by a Greek artist who was familiar with the Hellenistic styles of Greece, is the Relief of the Wedding of Amphitrite and Neptune. It “shows a mythological