Laocoon. 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.
It is very likely the same statue praised in the highest terms by the main Roman writer on art, Pliny the Elder. The figures are near life-size and the group is a little over 2 m in height, showing the Trojan priest Laocoön and his sons Antiphantes and Thymbraeus being attacked by sea serpents.
The group has been called the prototypical icon of human agony in Western art, and unlike the agony often depicted in Christian art showing the Passion of Jesus and martyrs, this suffering has no redemptive power or reward. The suffering is shown through the contorted expressions of the faces, which are matched by the struggling bodies, especially that of Laocoön himself, with every part of his body straining.
Pliny attributes the work, then in the palace of Emperor Titus, to three Greek sculptors from the island of Rhodes: Agesander, Athenodoros and Polydorus, but does not give a date or patron. In style it is considered one of the finest examples of the Hellenistic baroque and certainly in the Greek tradition, but it is not known whether it is an original work or a copy of an earlier sculpture, probably in bronze, or made for a Greek or Roman commission.
The view t
It is very likely the same statue praised in the highest terms by the main Roman writer on art, Pliny the Elder. The figures are near life-size and the group is a little over 2 m in height, showing the Trojan priest Laocoön and his sons Antiphantes and Thymbraeus being attacked by sea serpents.
The group has been called the prototypical icon of human agony in Western art, and unlike the agony often depicted in Christian art showing the Passion of Jesus and martyrs, this suffering has no redemptive power or reward. The suffering is shown through the contorted expressions of the faces, which are matched by the struggling bodies, especially that of Laocoön himself, with every part of his body straining.
Pliny attributes the work, then in the palace of Emperor Titus, to three Greek sculptors from the island of Rhodes: Agesander, Athenodoros and Polydorus, but does not give a date or patron. In style it is considered one of the finest examples of the Hellenistic baroque and certainly in the Greek tradition, but it is not known whether it is an original work or a copy of an earlier sculpture, probably in bronze, or made for a Greek or Roman commission.
The view t
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