The statue of Laocoön and His Sons, also called the Laocoön Group, has been one of the most famous ancient sculptures ever since it was excavated in Rome in 1506 and placed on public display in the Vatican, where it remains. John Ruskin disliked the sculpture and compared its "disgusting convulsions" unfavourably with work by Michelangelo, whose fresco of The Brazen Serpent, on a corner pendentive of the Sistine Chapel, also involves figures struggling with snakes – the fiery serpents of the Book of Numbers. A 2007 exhibition[64] at the Henry Moore Institute in turn copied this title while exhibiting work by modern artists influenced by the sculpture. [18], In at least one Greek telling of the story the older son is able to escape, and the composition seems to allow for that possibility. En la guerra troyana Laocoonte avisó a los habitantes de Troya de que no dejen entrar al caballo de madera en la ciudad. Di suttrattu cumparsi un grecu chjamatu Sinone, u quali cunvinsi u rè ch'è u cavaddu era segnu di paci, ed era in veru un rigalu. ĵaŭdo, 11 Junio 2020 Thursday, 11 June 2020 Antonio De Salvo. Noting a stylistic similarity to the Laocoön group he presented it to the Vatican Museums: it remained in their storerooms for half a century. Nell'Eneide si narra che, quando i greci portarono nella città il celebre cavallo di Troia, egli corse verso di esso scagliandogli contro una lancia che ne fece risonare il ventre pieno; proferì quindi la celebre frase Timeo Danaos et dona ferentes («Temo i greci, anche quando portano doni»). The most unusual intervention in the debate, William Blake's annotated print Laocoön, surrounds the image with graffiti-like commentary in several languages, written in multiple directions. See Beard, 210, who is highly sceptical of the identification, noting that ‘the new arm does not directly join with the father's broken shoulder (a wedge of plaster has had to be inserted); it appears to be on a smaller scale and in a slightly differently coloured marble’. Deutsch-Italienisch-Übersetzungen für Laocoonte im Online-Wörterbuch dict.cc (Italienischwörterbuch). But over time, knowledge of the site's precise location was lost, beyond "vague" statements such as Sangallo's "near Santa Maria Maggiore" (see above) or it being "near the site of the Domus Aurea" (the palace of the Emperor Nero); in modern terms near the Colosseum. Instead, they had to express suffering while retaining beauty. [23] It is now very often thought that the three Rhodians were copyists, perhaps of a bronze sculpture from Pergamon, created around 200 BC. [63] Furthermore, he attacked the composition on naturalistic grounds, contrasting the carefully studied human anatomy of the restored figures with the unconvincing portrayal of the snakes:[63]. Ci fu chi propose che il gran destriero fosse portato dentro le mura della città, su fino alla rocca; chi invece, fra i capi, fu còlto dal sospetto che in quel simulacro si nascondesse un'insidia e che quindi, per quanto sacro, lo si gettasse in mare o gli si desse fuoco o addirittura lo si sventrasse. "Volpe and Parisi": Digital Sculpture Project: Laocoon. Pallade Atena, che parteggiava per i Greci, punì Laocoonte mandando Porcete e Caribea, due enormi serpenti marini, che uscendo dal mare avvinghiarono i suoi due figli, Antifate e Tymbreus stritolandoli. [27][28] The phrase translated above as "in concert" (de consilii sententia) is regarded by some as referring to their commission rather than the artists' method of working, giving in Nigel Spivey's translation: " [the artists] at the behest of council designed a group...", which Spivey takes to mean that the commission was by Titus, possibly even advised by Pliny among other savants. [24][25] It is noteworthy that Pliny does not address this issue explicitly, in a way that suggests "he regards it as an original". [9] Others see it as probably an original work of the later period, continuing to use the Pergamene style of some two centuries earlier. On the wedge, Barkan, 11 notes that in the restoration of c. 1540 "the original shoulder was severely sliced back" to fit the new section. Blake presents the sculpture as a mediocre copy of a lost Israelite original, describing it as "Jehovah & his two Sons Satan & Adam as they were copied from the Cherubim Of Solomons Temple by three Rhodians & applied to Natural Fact or History of Ilium". So he set off immediately. The area remained mainly agricultural until the 19th century, but is now entirely built up. [52] A bronze casting, made for François I at Fontainebleau from a mold taken from the original under the supervision of Primaticcio, is at the Musée du Louvre. The figures are near life-size and the group is a little over 2 m in … In 2005 Lynn Catterson argued that the sculpture was a forgery created by. Via Margutta 53/B. The fine white marble used is often thought to be Greek, but has not been identified by analysis. I Troiani, felici par u priculu scampatu, trascinàni u cavaddu à l'internu di i mura, nonustanti Laocoonte è a prufitessa Cassandra avissini cunsiddatu d'ùn fà lu micca. [14] In other versions he was killed for having had sex with his wife in the temple of Poseidon, or simply making a sacrifice in the temple with his wife present. EL LAOCOONTE… El Laocoonte es uno de los conjuntos escultóricos más impresionantes de toda la Historia del Arte universal. Laocoonte (gr. [11] The more open, planographic composition along a plane, used in the restoration of the Laocoön group, has been interpreted as "apparently the result of serial reworkings by Roman Imperial as well as Renaissance and modern craftsmen". He bequeathed the gardens to Augustus in 8 BC, and Tiberius lived there after he returned to Rome as heir to Augustus in 2 AD. The statue of Laocoön and His Sons, also called the Laocoön Group (Italian: Gruppo del Laocoonte), has been one of the most famous ancient sculptures ever since it was excavated in Rome in 1506 and placed on public display in the Vatican,[2] where it remains. Laocoonte nel Palazzo dei Grandi Maestri. Stewart, Andrew W. (1996), "Hagesander, Athanodorus and Polydorus", in Hornblower, Simon, Oxford Classical Dictionary, Oxford: Oxford University Press. [63] He invited contrast between the "meagre lines and contemptible tortures of the Laocoon" and the "awfulness and quietness" of Michelangelo, saying "the slaughter of the Dardan priest" was "entirely wanting" in sublimity. [29], The same three artists' names, though in a different order (Athenodoros, Agesander, and Polydorus), with the names of their fathers, are inscribed on one of the sculptures at Tiberius's villa at Sperlonga (though they may predate his ownership),[30] but it seems likely that not all the three masters were the same individuals. bei einem Ausbruch des Vesuv verschütteten Stadt Pompeji. Das Haus wurde 1875 ausgegraben. As soon as it was visible everyone started to draw (or "started to have lunch"),[37] all the while discoursing on ancient things, chatting as well about the ones in Florence. The influence of the Laocoön, as well as the Belvedere Torso, is evidenced in many of Michelangelo's later sculptures, such as the Rebellious Slave and the Dying Slave, created for the tomb of Pope Julius II. It is speculated that De Fredis began building the house soon after his purchase, and as the group was reported to have been found some four metres below ground, at a depth unlikely to be reached by normal vineyard-digging operations, it seems likely that it was discovered when digging the foundations for the house, or possibly a well for it. [15] In this second group of versions, the snakes were sent by Poseidon[16] and in the first by Poseidon and Athena, or Apollo, and the deaths were interpreted by the Trojans as proof that the horse was a sacred object. Puso una lanza en el vientre del caballo y sonó de metal, de lo que nadie se dió cuenta. Hist. This group was made in concert by three most eminent artists, Agesander, Polydorus, and Athenodorus, natives of Rhodes. Il gruppo scultoreo del Laocoonte e i suoi figli, noto anche semplicemente come Gruppo del Laocoonte, è una scultura in marmo (h 242 cm) conservata nel Museo Pio-Clementino dei Musei Vaticani, nella Città del Vaticano. Laocoonte era un personaggio della mitologia greca, abitante di Troia, figlio di Antenore. Others, however, believed it was more appropriate to show the right arms extended outwards in a heroic gesture. English Translation of “Laocoonte” | The official Collins Italian-English Dictionary online. La notizia giunse anche nel palazzo vaticano, dove «... fu detto al Papa, che in una vigna presso a S. Maria Maggiore s' era trovato certe statue molto belle. Michelangelo is known to have been particularly impressed by the massive scale of the work and its sensuous Hellenistic aesthetic, particularly its depiction of the male figures. Die Laokoon-Gruppe in den Vatikanischen Museen ist die bedeutendste Darstellung des Todeskampfs Laokoons und seiner Söhne in der bildenden Kunst. : Il catalogo, con splendide foto di Giovanni Ricci Novara, è edito dall'Erma di Bretschneider: > Laocoonte. Die Skulptur der Bildhauer Hagesandros, Polydoros und Athanadoros aus Rhodos ist nur in einer 1,84 Meter hohen Marmorkopie aus der zweiten Hälfte des 1. See also Richard Brilliant. [31] Though broadly similar in style, many aspects of the execution of the two groups are drastically different, with the Laocoon group of much higher quality and finish.[32]. On connaît la caricature attribuée à Titien qui représente le Laocoon sous l’aspect de trois singes. [19], The style of the work is agreed to be that of the Hellenistic "Pergamene baroque" which arose in Greek Asia Minor around 200 BC, and whose best known undoubtedly original work is the Pergamon Altar, dated c. 180–160 BC, and now in Berlin. p 1, Janson etc. [39], When the statue was discovered, Laocoön's right arm was missing, along with part of the hand of one child and the right arm of the other, and various sections of snake. 3, sculptures at Tiberius's villa at Sperlonga, An Ancient Masterpiece Or a Master's Forgery?, New York Times, April 18, 2005, "An Annotated Chronology of the “Laocoon” Statue Group", University of Virginia's Digital Sculpture Project, "Outscreaming the Laocoön: Sensation, Special Affects, and the Moving Image", Laocoonte: variazioni sul mito, con una Galleria delle fonti letterarie e iconografiche su Laocoonte, a cura del Centro studi classicA, "La Rivista di Engramma" n. 50, luglio/settembre 2006, Nota sul ciclo di Sperlonga e sulle relazioni con il Laoocoonte Vaticano, a cura del Centro studi classicA, "La Rivista di Engramma" n. 50. luglio/settembre 2006, Nota sulle interpretazioni del passo di Plinio, Nat. [65] An inscribed plaque of 1529 in the church of Santa Maria in Aracoeli records the burial of De Fredis and his son there, covering his finding of the group but giving no occupation. [66], The first document records De Fredis' purchase of a vineyard of about 1.5 hectares from a convent for 135 ducats on 14 November 1504, exactly 14 months before the finding of the statue. In the course of disassembly,[47] it was possible to observe breaks, cuttings, metal tenons, and dowel holes which suggested that in antiquity, a more compact, three-dimensional pyramidal grouping of the three figures had been used or at least contemplated. [48] Other suggestions have been made. The original was seized and taken to Paris by Napoleon Bonaparte after his conquest of Italy in 1799, and installed in a place of honour in the Musée Napoléon at the Louvre. [1], The group has been called "the prototypical icon of human agony" in Western art,[4] and unlike the agony often depicted in Christian art showing the Passion of Jesus and martyrs, this suffering has no redemptive power or reward. Michelangelo was called to the site of the unearthing of the statue immediately after its discovery,[35] along with the Florentine architect Giuliano da Sangallo and his eleven-year-old son Francesco da Sangallo, later a sculptor, who wrote an account over sixty years later:[36]. Boardman, 199 says "about 200 BC"; Spivey, 26, 36, feels it may have been commissioned by Titus. [46] The restored portions of the children's arms and hands were removed. Michelangelo suggested that the missing right arms were originally bent back over the shoulder. Era un veggente e gran sacerdote di Poseidone, o, secondo alcune fonti, di Apollo. [55] Over 15 drawings of the group made by Rubens in Rome have survived, and the influence of the figures can be seen in many of his major works, including his Descent from the Cross in Antwerp Cathedral.[56]. [44], In 1906 Ludwig Pollak, archaeologist, art dealer and director of the Museo Barracco, discovered a fragment of a marble arm in a builder's yard in Rome, close to where the group was found. [38], In July 1798 the statue was taken to France in the wake of the French conquest of Italy, though the replacement parts were left in Rome. Although mostly in excellent condition for an excavated sculpture, the group is missing several parts, and analysis suggests that it was remodelled in ancient times and has undergone a number of restorations since it was excavated. Barkan, 1–4, with English text; Chronology has the Italian, at 1567, the date of the letter. Über 100.000 Englische Übersetzungen von Italienische Wörtern und Ausdrücken The names may have recurred across generations, a Rhodian habit, within the context of a family workshop (which might well have included the adoption of promising young sculptors). : Laocoön in the Grand Master's Palace. [33] Altogether eight "signatures" (or labels) of an Athenodoros are found on sculptures or bases for them, five of these from Italy. Laocoonte (in greco antico: Λαοκόων, Laokóōn; in latino: Laocoon), personaggio della mitologia greca, era un abitante di Troia, figlio di Antenore[1][2] (o di Capi, secondo altre versioni[3][4]). The location where the buried statue was found in 1506 was always known to be "in the vineyard of Felice De Fredis" on the Oppian Hill (the southern spur of the Esquiline Hill), as noted in the document recording the sale of the group to the Pope. Barkan, 13–16; H. W. Janson, "Titian's Laocoon Caricature and the Vesalian-Galenist Controversy", Jelbert, Rebecca: "Aping the Masters? Several of the ignudi and the figure of Haman in the Sistine Chapel ceiling draw on the figures. The pope ordered one of his officers to run and tell Giuliano da Sangallo to go and see them. In either case, it was probably commissioned for the home of a wealthy Roman, possibly of the Imperial family. The view that it is an original work of the 2nd century BC now has few if any supporters, although many still see it as a copy of such a work made in the early Imperial period, probably of a bronze original. See figures in Howard for photos and diagram of the dis-assembled pieces, Howard, 422 and 417 quoted in turn. [40] The age of the altar used as a seat by Laocoön remains uncertain. The group was unearthed in February 1506 in the vineyard of Felice De Fredis; informed of the fact, Pope Julius II, an enthusiastic classicist, sent for his court artists. I Troiani presero questo come un segno, tenendo così il cavallo tra le loro mura. Various dates have been suggested for the statue, ranging from about 200 BC to the 70s AD,[10] though "a Julio-Claudian date [between 27 BC and 68 AD] ... is now preferred".[11]. [20] Here the figure of Alcyoneus is shown in a pose and situation (including serpents) which is very similar to those of Laocoön, though the style is "looser and wilder in its principles" than the altar.[21]. In 1725–27 Agostino Cornacchini added a section to the younger son's arm, and after 1816 Antonio Canova tidied up the group after their return from Paris, without being convinced by the correctness of the additions but wishing to avoid a controversy. [58] The most influential contribution to the debate, Gotthold Ephraim Lessing's essay Laocoon: An Essay on the Limits of Painting and Poetry, examines the differences between visual and literary art by comparing the sculpture with Virgil's verse. It was on display when the new Musée Central des Arts, later the Musée Napoléon, opened at the Louvre in November 1800. [41] Artists and connoisseurs debated how the missing parts should be interpreted. A large serpent never wants to bite, it wants to hold, it seizes therefore always where it can hold best, by the extremities, or throat, it seizes once and forever, and that before it coils, following up the seizure with the twist of its body round the victim, as invisibly swift as the twist of a whip lash round any hard object it may strike, and then it holds fast, never moving the jaws or the body, if its prey has any power of struggling left, it throws round another coil, without quitting the hold with the jaws; if Laocoön had had to do with real serpents, instead of pieces of tape with heads to them, he would have been held still, and not allowed to throw his arms or legs about. Il mito di Laocoonte L'arte figurativa: Lessing vs Winckelmann Johann Joachim Winckelmann: Bibliotecario Storico dell'arte Archeologo tedesco ''Egli non leva nessun grido terribile, come del suo Laocoonte canta Virgilio; l'apertura della bocca non lo permette; è piuttosto un [12] It is on display in the Museo Pio-Clementino, a part of the Vatican Museums. Laŭ Eratosteno de Cireno (Eratosthénēs ho Kyrēnâios, Ἐρατοσθένης ὁ Κυρηναῖος, 276-194 a. K.), datiĝas de la 11-a de junio 1184 a. K. la brulego kaj la detruo de Trojo. [59], Johann Goethe said the following in his essay, Upon the Laocoon "A true work of art, like a work of nature, never ceases to open boundlessly before the mind. He argues that the artists could not realistically depict the physical suffering of the victims, as this would be too painful. [66] The extent of the grounds of Nero's Domus Aurea is now unclear, but they do not appear to have extended so far north or east, though the newly rediscovered findspot-location is not very far beyond them. Some scholars used to think that honorific inscriptions found at Lindos in Rhodes dated Agesander and Athenodoros, recorded as priests, to a period after 42 BC, making the years 42 to 20 BC the most likely date for the Laocoön group's creation. [24] However the Sperlonga inscription, which also gives the fathers of the artists, makes it clear that at least Agesander is a different individual from the priest of the same name recorded at Lindos, though very possibly related. 221 Followers, 12 Following, 37 Posts - See Instagram photos and videos from Laocoonte (@banda.laocoonte) Some, including that from Sperlonga, record his father as Agesander. Raffigura il famoso episodio narrato nell'Eneide che vede il sacerdote troiano Laocoonte ed i suoi figli assaliti da serpenti marini. Since Michelangelo Buonarroti was always to be found at our house, my father having summoned him and having assigned him the commission of the pope’s tomb, my father wanted him to come along, too. "Chronology": Frischer, Bernard, Digital Sculpture Project: Laocoon. [5] The suffering is shown through the contorted expressions of the faces (Charles Darwin pointed out that Laocoön's bulging eyebrows are physiologically impossible),[6] which are matched by the struggling bodies, especially that of Laocoön himself, with every part of his body straining. However, some scholars see the group as a depiction of the scene as described by Virgil. Many still show the arm in the outstretched position, but the copy in Rhodes has been corrected. The house appears on a map of 1748,[67] and still survives as a substantial building of three storeys, as of 2014[update] in the courtyard of a convent. XXXVI, 37, a cura del Centro studi classicA, "La Rivista di Engramma" n. 50. luglio/settembre 2006, Scheda cronologica dei restauri del Laocoonte, a cura di Marco Gazzola, "La Rivista di Engramma" n. 50, luglio/settembre 2006, Boncompagni Ludovisi Decorative Art Museum, Museo Storico Nazionale dell'Arte Sanitaria, https://en.wikipedia.org/w/index.php?title=Laocoön_and_His_Sons&oldid=993590860, Short description is different from Wikidata, Pages using infobox artwork with the material parameter, Articles containing Italian-language text, Articles containing potentially dated statements from 2014, All articles containing potentially dated statements, Articles with Italian-language sources (it), Creative Commons Attribution-ShareAlike License, 208 cm × 163 cm × 112 cm (6 ft 10 in × 5 ft 4 in × 3 ft 8 in). [54] It has also been suggested that this woodcut was one of a number of Renaissance images that were made to reflect contemporary doubts as to the authenticity of the Laocoön Group, the 'aping' of the statue referring to the incorrect pose of the Trojan priest who was depicted in ancient art in the traditional sacrificial pose, with his leg raised to subdue the bull. El Laocoonte del broncista florentino acabó en la colección regia española en 1803. It has often been interpreted as a satire on the clumsiness of Bandinelli's copy, or as a commentary on debates of the time around the similarities between human and ape anatomy. Ihren Namen erhielt sie nach einem dort befindlichen Wandbild mit der Darstellung des Laokoon. [50] Raphael used the face of Laocoön for his Homer in his Parnassus in the Raphael Rooms, expressing blindness rather than pain.[51]. Pertenece, por tanto, a la última etapa de la escultura … Howard, throughout; "Chronology", and several discussions in the other sources, Stewart, 85, this last in the commentary on Virgil of, The Greeks were familiar with constricting snakes, and the small boa, Boardman, 164–166, 197–199; Clark, 216–219; Cook, 153, As Beard, 210, a sceptic, complains; see "Chronology" at January 1506 for dissidents. Non vi fidate, Troiani.Sia ciò che vuole, temo i Dànai, e più quand'offrono doni.». It had been the subject of a tragedy, now lost, by Sophocles and was mentioned by other Greek writers, though the events around the attack by the serpents vary considerably. Near the end of Charles Dickens' A Christmas Carol, Ebenezer Scrooge self-describes "making a perfect Laocoön of himself with his stockings" in his hurry to dress on Christmas morning. [61] This reflects Blake's theory that the imitation of ancient Greek and Roman art was destructive to the creative imagination, and that Classical sculpture represented a banal naturalism in contrast to Judeo-Christian spiritual art. Laocoonte cercò di accorrere in loro aiuto ma subì la stessa sorte. [66], The findspot was inside and very close to the Servian Wall, which was still maintained in the 1st century AD (possibly converted to an aqueduct), though no longer the city boundary, as building had spread well beyond it. Howard 417–418 and figure 1 has the fullest account used of the complicated situation here; with the damages and after the various restorations he lists 14 parts (417, note 4) when the group was last dismantled. Era un veggente e gran sacerdote di Poseidone e apollo Influenza culturale Storia La scoperta del Laocoonte ebbe un enorme risonanza tra gli artisti e gli scultori ed influenzò [49], The discovery of the Laocoön made a great impression on Italian artists and continued to influence Italian art into the Baroque period. Le linee generali della vicenda di L. e dei suoi figli sono ben note attraverso il secondo … [53] A woodcut, probably after a drawing by Titian, parodied the sculpture by portraying three apes instead of humans. The Vatican is 1.6 miles from B&B Laocoonte, while St. Peter's Basilica is 1.6 miles away. Pliny said the Laocoön was in his time at the palace of Titus (qui est in Titi imperatoris domo), then heir to his father Vespasian,[68] but the location of Titus's residence remains unknown; the imperial estate of the Gardens of Maecenas may be a plausible candidate. [42], According to Vasari, in about 1510 Bramante, the Pope's architect, held an informal contest among sculptors to make replacement right arms, which was judged by Raphael, and won by Jacopo Sansovino.