Laokoon und seine Söhne

Prompt: Beschreibe die Merkmale der Renaissance in  der Laokoon und seine Söhne's Geschichte von Laokoon und seine Söhne.Bitte auf Englisch ausgeben.

Category:Roman copies of Greek sculptures

File:C.sf., urbino, coppa con laocoonte, 1530-1545 circa.JPG

Category:Archaeological discoveries in Italy

Palace of the Grand Master of the Knights of Rhodes

Census of Antique Works of Art and Architecture Known in the Renaissance

:File:Giovanni Battista Nolli-Nuova Pianta di Roma (1748) 09-12.JPG

File:Caricature of the Laocoon group as apes.jpg

Titian's parody of the ''Laocoön'' as a group of apes

The Descent from the Cross (Rubens, 1612-1614)

The group as it was between c. 1540 and 1957, with Laocoön's extended arm; the sons' restored arms were removed in the 1980s.

Category:Antiquities acquired by Napoleon

Category:Sculptures in the Vatican Museums

This map shows the findspot of the sculpture{{snd}}near the R in "SERVIUS", east of the [[Sette Sale

sculptures at Tiberius's villa at Sperlonga

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.  Michelangelo was called to the site of the unearthing of the statue immediately after its discovery, 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:The first time I was in Rome when I was very young, the pope was told about the discovery of some very beautiful statues in a vineyard near Santa Maria Maggiore. The pope ordered one of his officers to run and tell Giuliano da Sangallo to go and see them.  So he set off immediately. 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. I joined up with my father and off we went. I climbed down to where the statues were when immediately my father said, "That is the Laocoön, which Pliny mentions".  Then they dug the hole wider so that they could pull the statue out. As soon as it was visible everyone started to draw (or "started to have lunch"), all the while discoursing on ancient things, chatting as well about the ones in Florence.Julius acquired the group on March 23, giving De Fredis a job as a scribe as well as the customs revenues from one of the gates of Rome.  By August the group was placed for public viewing in a niche in the wall of the brand new Belvedere Garden at the Vatican, now part of the Vatican Museums, which regard this as the start of their history. As yet it had no base, which was not added until 1511, and from various prints and drawings from the time the older son appears to have been completely detached from the rest of the group.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. It was on display when the new Musée Central des Arts, later the Musée Napoléon, opened at the Louvre in November 1800.  A competition was announced for new parts to complete the composition, but there were no entries. Some plaster sections by François Girardon, over 150 years old, were used instead.  After Napoleon's final defeat at the Battle of Waterloo in 1815 most (but certainly not all) of the artworks plundered by the French were returned, and the Laocoön reached Rome in January 1816.


Laokoon und seine Söhne

Prompt: Im Kontext von Laokoon und seine Söhne, erkunde erkläre die Restaurierungen und die Geschichte.Bitte auf Englisch ausgeben.

Category:Roman copies of Greek sculptures

File:C.sf., urbino, coppa con laocoonte, 1530-1545 circa.JPG

Category:Archaeological discoveries in Italy

Palace of the Grand Master of the Knights of Rhodes

Census of Antique Works of Art and Architecture Known in the Renaissance

:File:Giovanni Battista Nolli-Nuova Pianta di Roma (1748) 09-12.JPG

File:Caricature of the Laocoon group as apes.jpg

Titian's parody of the ''Laocoön'' as a group of apes

The Descent from the Cross (Rubens, 1612-1614)

The group as it was between c. 1540 and 1957, with Laocoön's extended arm; the sons' restored arms were removed in the 1980s.

Category:Antiquities acquired by Napoleon

Category:Sculptures in the Vatican Museums

This map shows the findspot of the sculpture{{snd}}near the R in "SERVIUS", east of the [[Sette Sale

sculptures at Tiberius's villa at Sperlonga

When the statue was discovered, Laocoön's right arm was missing, along with part of the hand of one son and the right arm of the other, and various sections of the snake. The older son, on the right, was detached from the other two figures.  The age of the altar used as a seat by Laocoön remains uncertain.  Artists and connoisseurs debated how the missing parts should be interpreted. Michelangelo suggested that the missing right arms were originally bent back over the shoulder. Others, however, believed it was more appropriate to show the right arms extended outwards in a heroic gesture.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. The winner, in the outstretched position, was used in copies but not attached to the original group, which remained as it was until 1532, when Giovanni Antonio Montorsoli, a pupil of Michelangelo, added his even more straight version of Laocoön's outstretched arm, which remained in place until modern times.  In 1725–1727 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.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. Noting a stylistic similarity to the Laocoön group he presented it to the Vatican Museums: it remained in their storerooms for half a century. In 1957 the museum decided that this arm – bent, as Michelangelo had suggested – had originally belonged to this Laocoön, and replaced it. According to Paolo Liverani: "Remarkably, despite the lack of a critical section, the join between the torso and the arm was guaranteed by a drill hole on one piece which aligned perfectly with a corresponding hole on the other."In the 1980s the statue was dismantled and reassembled, again with the Pollak arm incorporated.  The restored portions of the sons' arms and hands were removed. In the course of disassembly, 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. According to Seymour Howard, both the Vatican group and the Sperlonga sculptures "show a similar taste for open and flexible pictorial organization that called for pyrotechnic piercing and lent itself to changes at the site, and in new situations".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". A different reconstruction was proposed by Seymour Howard, to give "a more cohesive, baroque-looking and diagonally-set pyramidal composition", by turning the older son as much as 90°, with his back to the side of the altar, and looking towards the frontal viewer rather than at his father.  The findings Seymour Howard documented do not change his belief about the organization of the original. But dating the reworked coil ends by measuring the depth of the surface crust and comparing the metal dowels in the original and reworked portions allows one to determine the provenance of the parts and the sequence of the repairs. Other suggestions have been made.


Laokoon und seine Söhne

Prompt: Erkunde Erkläre die Restaurierungen über die Geschichte dieses Kunstwerks, Laokoon und seine Söhne.Bitte auf Englisch ausgeben.

Category:Roman copies of Greek sculptures

File:C.sf., urbino, coppa con laocoonte, 1530-1545 circa.JPG

Category:Archaeological discoveries in Italy

Palace of the Grand Master of the Knights of Rhodes

Census of Antique Works of Art and Architecture Known in the Renaissance

:File:Giovanni Battista Nolli-Nuova Pianta di Roma (1748) 09-12.JPG

File:Caricature of the Laocoon group as apes.jpg

Titian's parody of the ''Laocoön'' as a group of apes

The Descent from the Cross (Rubens, 1612-1614)

The group as it was between c. 1540 and 1957, with Laocoön's extended arm; the sons' restored arms were removed in the 1980s.

Category:Antiquities acquired by Napoleon

Category:Sculptures in the Vatican Museums

This map shows the findspot of the sculpture{{snd}}near the R in "SERVIUS", east of the [[Sette Sale

sculptures at Tiberius's villa at Sperlonga

When the statue was discovered, Laocoön's right arm was missing, along with part of the hand of one son and the right arm of the other, and various sections of the snake. The older son, on the right, was detached from the other two figures.  The age of the altar used as a seat by Laocoön remains uncertain.  Artists and connoisseurs debated how the missing parts should be interpreted. Michelangelo suggested that the missing right arms were originally bent back over the shoulder. Others, however, believed it was more appropriate to show the right arms extended outwards in a heroic gesture.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. The winner, in the outstretched position, was used in copies but not attached to the original group, which remained as it was until 1532, when Giovanni Antonio Montorsoli, a pupil of Michelangelo, added his even more straight version of Laocoön's outstretched arm, which remained in place until modern times.  In 1725–1727 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.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. Noting a stylistic similarity to the Laocoön group he presented it to the Vatican Museums: it remained in their storerooms for half a century. In 1957 the museum decided that this arm – bent, as Michelangelo had suggested – had originally belonged to this Laocoön, and replaced it. According to Paolo Liverani: "Remarkably, despite the lack of a critical section, the join between the torso and the arm was guaranteed by a drill hole on one piece which aligned perfectly with a corresponding hole on the other."In the 1980s the statue was dismantled and reassembled, again with the Pollak arm incorporated.  The restored portions of the sons' arms and hands were removed. In the course of disassembly, 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. According to Seymour Howard, both the Vatican group and the Sperlonga sculptures "show a similar taste for open and flexible pictorial organization that called for pyrotechnic piercing and lent itself to changes at the site, and in new situations".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". A different reconstruction was proposed by Seymour Howard, to give "a more cohesive, baroque-looking and diagonally-set pyramidal composition", by turning the older son as much as 90°, with his back to the side of the altar, and looking towards the frontal viewer rather than at his father.  The findings Seymour Howard documented do not change his belief about the organization of the original. But dating the reworked coil ends by measuring the depth of the surface crust and comparing the metal dowels in the original and reworked portions allows one to determine the provenance of the parts and the sequence of the repairs. Other suggestions have been made.


Laokoon und seine Söhne

Prompt: In Laokoon und seine Söhne, wie wird die Restaurierungen der Geschichte erläutert?Bitte auf Englisch ausgeben.

Category:Roman copies of Greek sculptures

File:C.sf., urbino, coppa con laocoonte, 1530-1545 circa.JPG

Category:Archaeological discoveries in Italy

Palace of the Grand Master of the Knights of Rhodes

Census of Antique Works of Art and Architecture Known in the Renaissance

:File:Giovanni Battista Nolli-Nuova Pianta di Roma (1748) 09-12.JPG

File:Caricature of the Laocoon group as apes.jpg

Titian's parody of the ''Laocoön'' as a group of apes

The Descent from the Cross (Rubens, 1612-1614)

The group as it was between c. 1540 and 1957, with Laocoön's extended arm; the sons' restored arms were removed in the 1980s.

Category:Antiquities acquired by Napoleon

Category:Sculptures in the Vatican Museums

This map shows the findspot of the sculpture{{snd}}near the R in "SERVIUS", east of the [[Sette Sale

sculptures at Tiberius's villa at Sperlonga

When the statue was discovered, Laocoön's right arm was missing, along with part of the hand of one son and the right arm of the other, and various sections of the snake. The older son, on the right, was detached from the other two figures.  The age of the altar used as a seat by Laocoön remains uncertain.  Artists and connoisseurs debated how the missing parts should be interpreted. Michelangelo suggested that the missing right arms were originally bent back over the shoulder. Others, however, believed it was more appropriate to show the right arms extended outwards in a heroic gesture.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. The winner, in the outstretched position, was used in copies but not attached to the original group, which remained as it was until 1532, when Giovanni Antonio Montorsoli, a pupil of Michelangelo, added his even more straight version of Laocoön's outstretched arm, which remained in place until modern times.  In 1725–1727 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.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. Noting a stylistic similarity to the Laocoön group he presented it to the Vatican Museums: it remained in their storerooms for half a century. In 1957 the museum decided that this arm – bent, as Michelangelo had suggested – had originally belonged to this Laocoön, and replaced it. According to Paolo Liverani: "Remarkably, despite the lack of a critical section, the join between the torso and the arm was guaranteed by a drill hole on one piece which aligned perfectly with a corresponding hole on the other."In the 1980s the statue was dismantled and reassembled, again with the Pollak arm incorporated.  The restored portions of the sons' arms and hands were removed. In the course of disassembly, 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. According to Seymour Howard, both the Vatican group and the Sperlonga sculptures "show a similar taste for open and flexible pictorial organization that called for pyrotechnic piercing and lent itself to changes at the site, and in new situations".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". A different reconstruction was proposed by Seymour Howard, to give "a more cohesive, baroque-looking and diagonally-set pyramidal composition", by turning the older son as much as 90°, with his back to the side of the altar, and looking towards the frontal viewer rather than at his father.  The findings Seymour Howard documented do not change his belief about the organization of the original. But dating the reworked coil ends by measuring the depth of the surface crust and comparing the metal dowels in the original and reworked portions allows one to determine the provenance of the parts and the sequence of the repairs. Other suggestions have been made.


Laokoon und seine Söhne

Prompt: Beschreibe die Merkmale der Restaurierungen in  der Laokoon und seine Söhne's Geschichte von Laokoon und seine Söhne.Bitte auf Englisch ausgeben.

Category:Roman copies of Greek sculptures

File:C.sf., urbino, coppa con laocoonte, 1530-1545 circa.JPG

Category:Archaeological discoveries in Italy

Palace of the Grand Master of the Knights of Rhodes

Census of Antique Works of Art and Architecture Known in the Renaissance

:File:Giovanni Battista Nolli-Nuova Pianta di Roma (1748) 09-12.JPG

File:Caricature of the Laocoon group as apes.jpg

Titian's parody of the ''Laocoön'' as a group of apes

The Descent from the Cross (Rubens, 1612-1614)

The group as it was between c. 1540 and 1957, with Laocoön's extended arm; the sons' restored arms were removed in the 1980s.

Category:Antiquities acquired by Napoleon

Category:Sculptures in the Vatican Museums

This map shows the findspot of the sculpture{{snd}}near the R in "SERVIUS", east of the [[Sette Sale

sculptures at Tiberius's villa at Sperlonga

When the statue was discovered, Laocoön's right arm was missing, along with part of the hand of one son and the right arm of the other, and various sections of the snake. The older son, on the right, was detached from the other two figures.  The age of the altar used as a seat by Laocoön remains uncertain.  Artists and connoisseurs debated how the missing parts should be interpreted. Michelangelo suggested that the missing right arms were originally bent back over the shoulder. Others, however, believed it was more appropriate to show the right arms extended outwards in a heroic gesture.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. The winner, in the outstretched position, was used in copies but not attached to the original group, which remained as it was until 1532, when Giovanni Antonio Montorsoli, a pupil of Michelangelo, added his even more straight version of Laocoön's outstretched arm, which remained in place until modern times.  In 1725–1727 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.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. Noting a stylistic similarity to the Laocoön group he presented it to the Vatican Museums: it remained in their storerooms for half a century. In 1957 the museum decided that this arm – bent, as Michelangelo had suggested – had originally belonged to this Laocoön, and replaced it. According to Paolo Liverani: "Remarkably, despite the lack of a critical section, the join between the torso and the arm was guaranteed by a drill hole on one piece which aligned perfectly with a corresponding hole on the other."In the 1980s the statue was dismantled and reassembled, again with the Pollak arm incorporated.  The restored portions of the sons' arms and hands were removed. In the course of disassembly, 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. According to Seymour Howard, both the Vatican group and the Sperlonga sculptures "show a similar taste for open and flexible pictorial organization that called for pyrotechnic piercing and lent itself to changes at the site, and in new situations".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". A different reconstruction was proposed by Seymour Howard, to give "a more cohesive, baroque-looking and diagonally-set pyramidal composition", by turning the older son as much as 90°, with his back to the side of the altar, and looking towards the frontal viewer rather than at his father.  The findings Seymour Howard documented do not change his belief about the organization of the original. But dating the reworked coil ends by measuring the depth of the surface crust and comparing the metal dowels in the original and reworked portions allows one to determine the provenance of the parts and the sequence of the repairs. Other suggestions have been made.


Laokoon und seine Söhne

Prompt: Fokussiere dich auf Laokoon und seine Söhne und erkunde erkläre die Einfluss.Bitte auf Englisch ausgeben.

Category:Roman copies of Greek sculptures

File:C.sf., urbino, coppa con laocoonte, 1530-1545 circa.JPG

Category:Archaeological discoveries in Italy

Palace of the Grand Master of the Knights of Rhodes

Census of Antique Works of Art and Architecture Known in the Renaissance

:File:Giovanni Battista Nolli-Nuova Pianta di Roma (1748) 09-12.JPG

File:Caricature of the Laocoon group as apes.jpg

Titian's parody of the ''Laocoön'' as a group of apes

The Descent from the Cross (Rubens, 1612-1614)

The group as it was between c. 1540 and 1957, with Laocoön's extended arm; the sons' restored arms were removed in the 1980s.

Category:Antiquities acquired by Napoleon

Category:Sculptures in the Vatican Museums

This map shows the findspot of the sculpture{{snd}}near the R in "SERVIUS", east of the [[Sette Sale

sculptures at Tiberius's villa at Sperlonga

The discovery of the Laocoön made a great impression on Italian artists and continued to influence Italian art into the Baroque period. 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. 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.  Several of the ignudi and the figure of Haman in the Sistine Chapel ceiling draw on the figures.  Raphael used the face of Laocoön for his Homer in his Parnassus in the Raphael Rooms, expressing blindness rather than pain.The Florentine sculptor Baccio Bandinelli was commissioned to make a copy by the Medici Pope Leo X. Bandinelli's version, which was often copied and distributed in small bronzes, is in the Uffizi Gallery, Florence, the Pope having decided it was too good to send to François I of France as originally intended. 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.  There are many copies of the statue, including a well-known one in the Grand Palace of the Knights of St. John in Rhodes. Many still show the arm in the outstretched position, but the copy in Rhodes has been corrected.The group was rapidly depicted in prints as well as small models, and became known all over Europe. Titian appears to have had access to a good cast or reproduction from about 1520, and echoes of the figures begin to appear in his works, two of them in the Averoldi Altarpiece of 1520–1522.  A woodcut, probably after a drawing by Titian, parodied the sculpture by portraying three apes instead of humans. 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. 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. 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.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. Following the fall of Napoleon, it was returned by the Allies to the Vatican in 1816.


Laokoon und seine Söhne

Prompt: ErkundeErkläre die Einfluss dieses Kunstwerks, Laokoon und seine Söhne.Bitte auf Englisch ausgeben.

Category:Roman copies of Greek sculptures

File:C.sf., urbino, coppa con laocoonte, 1530-1545 circa.JPG

Category:Archaeological discoveries in Italy

Palace of the Grand Master of the Knights of Rhodes

Census of Antique Works of Art and Architecture Known in the Renaissance

:File:Giovanni Battista Nolli-Nuova Pianta di Roma (1748) 09-12.JPG

File:Caricature of the Laocoon group as apes.jpg

Titian's parody of the ''Laocoön'' as a group of apes

The Descent from the Cross (Rubens, 1612-1614)

The group as it was between c. 1540 and 1957, with Laocoön's extended arm; the sons' restored arms were removed in the 1980s.

Category:Antiquities acquired by Napoleon

Category:Sculptures in the Vatican Museums

This map shows the findspot of the sculpture{{snd}}near the R in "SERVIUS", east of the [[Sette Sale

sculptures at Tiberius's villa at Sperlonga

The discovery of the Laocoön made a great impression on Italian artists and continued to influence Italian art into the Baroque period. 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. 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.  Several of the ignudi and the figure of Haman in the Sistine Chapel ceiling draw on the figures.  Raphael used the face of Laocoön for his Homer in his Parnassus in the Raphael Rooms, expressing blindness rather than pain.The Florentine sculptor Baccio Bandinelli was commissioned to make a copy by the Medici Pope Leo X. Bandinelli's version, which was often copied and distributed in small bronzes, is in the Uffizi Gallery, Florence, the Pope having decided it was too good to send to François I of France as originally intended. 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.  There are many copies of the statue, including a well-known one in the Grand Palace of the Knights of St. John in Rhodes. Many still show the arm in the outstretched position, but the copy in Rhodes has been corrected.The group was rapidly depicted in prints as well as small models, and became known all over Europe. Titian appears to have had access to a good cast or reproduction from about 1520, and echoes of the figures begin to appear in his works, two of them in the Averoldi Altarpiece of 1520–1522.  A woodcut, probably after a drawing by Titian, parodied the sculpture by portraying three apes instead of humans. 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. 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. 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.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. Following the fall of Napoleon, it was returned by the Allies to the Vatican in 1816.


Laokoon und seine Söhne

Prompt: Wie erläutert Laokoon und seine Söhne seine Einfluss?Bitte auf Englisch ausgeben.

Category:Roman copies of Greek sculptures

File:C.sf., urbino, coppa con laocoonte, 1530-1545 circa.JPG

Category:Archaeological discoveries in Italy

Palace of the Grand Master of the Knights of Rhodes

Census of Antique Works of Art and Architecture Known in the Renaissance

:File:Giovanni Battista Nolli-Nuova Pianta di Roma (1748) 09-12.JPG

File:Caricature of the Laocoon group as apes.jpg

Titian's parody of the ''Laocoön'' as a group of apes

The Descent from the Cross (Rubens, 1612-1614)

The group as it was between c. 1540 and 1957, with Laocoön's extended arm; the sons' restored arms were removed in the 1980s.

Category:Antiquities acquired by Napoleon

Category:Sculptures in the Vatican Museums

This map shows the findspot of the sculpture{{snd}}near the R in "SERVIUS", east of the [[Sette Sale

sculptures at Tiberius's villa at Sperlonga

The discovery of the Laocoön made a great impression on Italian artists and continued to influence Italian art into the Baroque period. 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. 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.  Several of the ignudi and the figure of Haman in the Sistine Chapel ceiling draw on the figures.  Raphael used the face of Laocoön for his Homer in his Parnassus in the Raphael Rooms, expressing blindness rather than pain.The Florentine sculptor Baccio Bandinelli was commissioned to make a copy by the Medici Pope Leo X. Bandinelli's version, which was often copied and distributed in small bronzes, is in the Uffizi Gallery, Florence, the Pope having decided it was too good to send to François I of France as originally intended. 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.  There are many copies of the statue, including a well-known one in the Grand Palace of the Knights of St. John in Rhodes. Many still show the arm in the outstretched position, but the copy in Rhodes has been corrected.The group was rapidly depicted in prints as well as small models, and became known all over Europe. Titian appears to have had access to a good cast or reproduction from about 1520, and echoes of the figures begin to appear in his works, two of them in the Averoldi Altarpiece of 1520–1522.  A woodcut, probably after a drawing by Titian, parodied the sculpture by portraying three apes instead of humans. 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. 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. 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.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. Following the fall of Napoleon, it was returned by the Allies to the Vatican in 1816.


Laokoon und seine Söhne

Prompt: Wie wird die Einfluss in Laokoon und seine Söhne diskutiert?Bitte auf Englisch ausgeben.

Category:Roman copies of Greek sculptures

File:C.sf., urbino, coppa con laocoonte, 1530-1545 circa.JPG

Category:Archaeological discoveries in Italy

Palace of the Grand Master of the Knights of Rhodes

Census of Antique Works of Art and Architecture Known in the Renaissance

:File:Giovanni Battista Nolli-Nuova Pianta di Roma (1748) 09-12.JPG

File:Caricature of the Laocoon group as apes.jpg

Titian's parody of the ''Laocoön'' as a group of apes

The Descent from the Cross (Rubens, 1612-1614)

The group as it was between c. 1540 and 1957, with Laocoön's extended arm; the sons' restored arms were removed in the 1980s.

Category:Antiquities acquired by Napoleon

Category:Sculptures in the Vatican Museums

This map shows the findspot of the sculpture{{snd}}near the R in "SERVIUS", east of the [[Sette Sale

sculptures at Tiberius's villa at Sperlonga

The discovery of the Laocoön made a great impression on Italian artists and continued to influence Italian art into the Baroque period. 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. 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.  Several of the ignudi and the figure of Haman in the Sistine Chapel ceiling draw on the figures.  Raphael used the face of Laocoön for his Homer in his Parnassus in the Raphael Rooms, expressing blindness rather than pain.The Florentine sculptor Baccio Bandinelli was commissioned to make a copy by the Medici Pope Leo X. Bandinelli's version, which was often copied and distributed in small bronzes, is in the Uffizi Gallery, Florence, the Pope having decided it was too good to send to François I of France as originally intended. 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.  There are many copies of the statue, including a well-known one in the Grand Palace of the Knights of St. John in Rhodes. Many still show the arm in the outstretched position, but the copy in Rhodes has been corrected.The group was rapidly depicted in prints as well as small models, and became known all over Europe. Titian appears to have had access to a good cast or reproduction from about 1520, and echoes of the figures begin to appear in his works, two of them in the Averoldi Altarpiece of 1520–1522.  A woodcut, probably after a drawing by Titian, parodied the sculpture by portraying three apes instead of humans. 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. 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. 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.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. Following the fall of Napoleon, it was returned by the Allies to the Vatican in 1816.


Laokoon und seine Söhne

Prompt: Im Kontext von Laokoon und seine Söhne, erkunde erkläre die Laokoon als ein Ideal der Kunst und die Einfluss.Bitte auf Englisch ausgeben.

Category:Roman copies of Greek sculptures

File:C.sf., urbino, coppa con laocoonte, 1530-1545 circa.JPG

Category:Archaeological discoveries in Italy

Palace of the Grand Master of the Knights of Rhodes

Census of Antique Works of Art and Architecture Known in the Renaissance

:File:Giovanni Battista Nolli-Nuova Pianta di Roma (1748) 09-12.JPG

File:Caricature of the Laocoon group as apes.jpg

Titian's parody of the ''Laocoön'' as a group of apes

The Descent from the Cross (Rubens, 1612-1614)

The group as it was between c. 1540 and 1957, with Laocoön's extended arm; the sons' restored arms were removed in the 1980s.

Category:Antiquities acquired by Napoleon

Category:Sculptures in the Vatican Museums

This map shows the findspot of the sculpture{{snd}}near the R in "SERVIUS", east of the [[Sette Sale

sculptures at Tiberius's villa at Sperlonga

Pliny's description of Laocoön as "a work to be preferred to all that the arts of painting and sculpture have produced" has led to a tradition which debates this claim that the sculpture is the greatest of all artworks. Johann Joachim Winckelmann (1717–1768) wrote about the paradox of admiring beauty while seeing a scene of death and failure.  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. He argues that the artists could not realistically depict the physical suffering of the victims, as this would be too painful. Instead, they had to express suffering while retaining beauty.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. We examine, – we are impressed with it, – it produces its effect; but it can never be all comprehended, still less can its essence, its value, be expressed in words.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. 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". 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.The central figure of Laocoön served as loose inspiration for the Indian in Horatio Greenough's The Rescue (1837–1850), which stood before the east façade of the United States Capitol for over 100 years.Near the end of Charles Dickens' 1843 novella, A Christmas Carol, Ebenezer Scrooge self-describes "making a perfect Laocoön of himself with his stockings" in his hurry to dress on Christmas morning.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. 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. 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:For whatever knowledge of the human frame there may be in the Laocoön, there is certainly none of the habits of serpents. The fixing of the snake's head in the side of the principal figure is as false to nature, as it is poor in composition of line. 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.In 1910 the critic Irving Babbitt used the title The New Laokoon: An Essay on the Confusion of the Arts for an essay on contemporary culture at the beginning of the 20th century. In 1940 Clement Greenberg adapted the concept for his own essay entitled Towards a Newer Laocoön in which he argued that abstract art now provided an ideal for artists to measure their work against. A 2007 exhibition at the Henry Moore Institute in turn copied this title while exhibiting work by modern artists influenced by the sculpture.


Laokoon und seine Söhne

Prompt: Erkunde Erkläre die Laokoon als ein Ideal der Kunst über die Einfluss dieses Kunstwerks, Laokoon und seine Söhne.Bitte auf Englisch ausgeben.

Category:Roman copies of Greek sculptures

File:C.sf., urbino, coppa con laocoonte, 1530-1545 circa.JPG

Category:Archaeological discoveries in Italy

Palace of the Grand Master of the Knights of Rhodes

Census of Antique Works of Art and Architecture Known in the Renaissance

:File:Giovanni Battista Nolli-Nuova Pianta di Roma (1748) 09-12.JPG

File:Caricature of the Laocoon group as apes.jpg

Titian's parody of the ''Laocoön'' as a group of apes

The Descent from the Cross (Rubens, 1612-1614)

The group as it was between c. 1540 and 1957, with Laocoön's extended arm; the sons' restored arms were removed in the 1980s.

Category:Antiquities acquired by Napoleon

Category:Sculptures in the Vatican Museums

This map shows the findspot of the sculpture{{snd}}near the R in "SERVIUS", east of the [[Sette Sale

sculptures at Tiberius's villa at Sperlonga

Pliny's description of Laocoön as "a work to be preferred to all that the arts of painting and sculpture have produced" has led to a tradition which debates this claim that the sculpture is the greatest of all artworks. Johann Joachim Winckelmann (1717–1768) wrote about the paradox of admiring beauty while seeing a scene of death and failure.  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. He argues that the artists could not realistically depict the physical suffering of the victims, as this would be too painful. Instead, they had to express suffering while retaining beauty.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. We examine, – we are impressed with it, – it produces its effect; but it can never be all comprehended, still less can its essence, its value, be expressed in words.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. 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". 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.The central figure of Laocoön served as loose inspiration for the Indian in Horatio Greenough's The Rescue (1837–1850), which stood before the east façade of the United States Capitol for over 100 years.Near the end of Charles Dickens' 1843 novella, A Christmas Carol, Ebenezer Scrooge self-describes "making a perfect Laocoön of himself with his stockings" in his hurry to dress on Christmas morning.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. 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. 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:For whatever knowledge of the human frame there may be in the Laocoön, there is certainly none of the habits of serpents. The fixing of the snake's head in the side of the principal figure is as false to nature, as it is poor in composition of line. 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.In 1910 the critic Irving Babbitt used the title The New Laokoon: An Essay on the Confusion of the Arts for an essay on contemporary culture at the beginning of the 20th century. In 1940 Clement Greenberg adapted the concept for his own essay entitled Towards a Newer Laocoön in which he argued that abstract art now provided an ideal for artists to measure their work against. A 2007 exhibition at the Henry Moore Institute in turn copied this title while exhibiting work by modern artists influenced by the sculpture.


Laokoon und seine Söhne

Prompt: In Laokoon und seine Söhne, wie wird die Laokoon als ein Ideal der Kunst der Einfluss erläutert?Bitte auf Englisch ausgeben.

Category:Roman copies of Greek sculptures

File:C.sf., urbino, coppa con laocoonte, 1530-1545 circa.JPG

Category:Archaeological discoveries in Italy

Palace of the Grand Master of the Knights of Rhodes

Census of Antique Works of Art and Architecture Known in the Renaissance

:File:Giovanni Battista Nolli-Nuova Pianta di Roma (1748) 09-12.JPG

File:Caricature of the Laocoon group as apes.jpg

Titian's parody of the ''Laocoön'' as a group of apes

The Descent from the Cross (Rubens, 1612-1614)

The group as it was between c. 1540 and 1957, with Laocoön's extended arm; the sons' restored arms were removed in the 1980s.

Category:Antiquities acquired by Napoleon

Category:Sculptures in the Vatican Museums

This map shows the findspot of the sculpture{{snd}}near the R in "SERVIUS", east of the [[Sette Sale

sculptures at Tiberius's villa at Sperlonga

Pliny's description of Laocoön as "a work to be preferred to all that the arts of painting and sculpture have produced" has led to a tradition which debates this claim that the sculpture is the greatest of all artworks. Johann Joachim Winckelmann (1717–1768) wrote about the paradox of admiring beauty while seeing a scene of death and failure.  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. He argues that the artists could not realistically depict the physical suffering of the victims, as this would be too painful. Instead, they had to express suffering while retaining beauty.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. We examine, – we are impressed with it, – it produces its effect; but it can never be all comprehended, still less can its essence, its value, be expressed in words.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. 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". 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.The central figure of Laocoön served as loose inspiration for the Indian in Horatio Greenough's The Rescue (1837–1850), which stood before the east façade of the United States Capitol for over 100 years.Near the end of Charles Dickens' 1843 novella, A Christmas Carol, Ebenezer Scrooge self-describes "making a perfect Laocoön of himself with his stockings" in his hurry to dress on Christmas morning.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. 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. 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:For whatever knowledge of the human frame there may be in the Laocoön, there is certainly none of the habits of serpents. The fixing of the snake's head in the side of the principal figure is as false to nature, as it is poor in composition of line. 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.In 1910 the critic Irving Babbitt used the title The New Laokoon: An Essay on the Confusion of the Arts for an essay on contemporary culture at the beginning of the 20th century. In 1940 Clement Greenberg adapted the concept for his own essay entitled Towards a Newer Laocoön in which he argued that abstract art now provided an ideal for artists to measure their work against. A 2007 exhibition at the Henry Moore Institute in turn copied this title while exhibiting work by modern artists influenced by the sculpture.


Laokoon und seine Söhne

Prompt: Beschreibe die Merkmale der Laokoon als ein Ideal der Kunst in  der Laokoon und seine Söhne's Einfluss von Laokoon und seine Söhne.Bitte auf Englisch ausgeben.

Category:Roman copies of Greek sculptures

File:C.sf., urbino, coppa con laocoonte, 1530-1545 circa.JPG

Category:Archaeological discoveries in Italy

Palace of the Grand Master of the Knights of Rhodes

Census of Antique Works of Art and Architecture Known in the Renaissance

:File:Giovanni Battista Nolli-Nuova Pianta di Roma (1748) 09-12.JPG

File:Caricature of the Laocoon group as apes.jpg

Titian's parody of the ''Laocoön'' as a group of apes

The Descent from the Cross (Rubens, 1612-1614)

The group as it was between c. 1540 and 1957, with Laocoön's extended arm; the sons' restored arms were removed in the 1980s.

Category:Antiquities acquired by Napoleon

Category:Sculptures in the Vatican Museums

This map shows the findspot of the sculpture{{snd}}near the R in "SERVIUS", east of the [[Sette Sale

sculptures at Tiberius's villa at Sperlonga

Pliny's description of Laocoön as "a work to be preferred to all that the arts of painting and sculpture have produced" has led to a tradition which debates this claim that the sculpture is the greatest of all artworks. Johann Joachim Winckelmann (1717–1768) wrote about the paradox of admiring beauty while seeing a scene of death and failure.  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. He argues that the artists could not realistically depict the physical suffering of the victims, as this would be too painful. Instead, they had to express suffering while retaining beauty.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. We examine, – we are impressed with it, – it produces its effect; but it can never be all comprehended, still less can its essence, its value, be expressed in words.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. 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". 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.The central figure of Laocoön served as loose inspiration for the Indian in Horatio Greenough's The Rescue (1837–1850), which stood before the east façade of the United States Capitol for over 100 years.Near the end of Charles Dickens' 1843 novella, A Christmas Carol, Ebenezer Scrooge self-describes "making a perfect Laocoön of himself with his stockings" in his hurry to dress on Christmas morning.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. 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. 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:For whatever knowledge of the human frame there may be in the Laocoön, there is certainly none of the habits of serpents. The fixing of the snake's head in the side of the principal figure is as false to nature, as it is poor in composition of line. 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.In 1910 the critic Irving Babbitt used the title The New Laokoon: An Essay on the Confusion of the Arts for an essay on contemporary culture at the beginning of the 20th century. In 1940 Clement Greenberg adapted the concept for his own essay entitled Towards a Newer Laocoön in which he argued that abstract art now provided an ideal for artists to measure their work against. A 2007 exhibition at the Henry Moore Institute in turn copied this title while exhibiting work by modern artists influenced by the sculpture.


Laokoon und seine Söhne

Prompt: Fokussiere dich auf Laokoon und seine Söhne und erkunde erkläre die Fundort.Bitte auf Englisch ausgeben.

Category:Roman copies of Greek sculptures

File:C.sf., urbino, coppa con laocoonte, 1530-1545 circa.JPG

Category:Archaeological discoveries in Italy

Palace of the Grand Master of the Knights of Rhodes

Census of Antique Works of Art and Architecture Known in the Renaissance

:File:Giovanni Battista Nolli-Nuova Pianta di Roma (1748) 09-12.JPG

File:Caricature of the Laocoon group as apes.jpg

Titian's parody of the ''Laocoön'' as a group of apes

The Descent from the Cross (Rubens, 1612-1614)

The group as it was between c. 1540 and 1957, with Laocoön's extended arm; the sons' restored arms were removed in the 1980s.

Category:Antiquities acquired by Napoleon

Category:Sculptures in the Vatican Museums

This map shows the findspot of the sculpture{{snd}}near the R in "SERVIUS", east of the [[Sette Sale

sculptures at Tiberius's villa at Sperlonga

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.  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.  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. Research published in 2010 has recovered two documents in the municipal archives (badly indexed, and so missed by earlier researchers), which have established a much more precise location for the find: slightly to the east of the southern end of the Sette Sale, the ruined cistern for the successive imperial baths at the base of the hill by the Colosseum.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.  The second document, from 1527, makes it clear that there is now a house on the property, and clarifies the location; by then De Fredis was dead and his widow rented out the house. The house appears on a map of 1748, and still survives as a substantial building of three storeys, as of 2014 in the courtyard of a convent.  The area remained mainly agricultural until the 19th century, but is now entirely built up. 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.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.  The spot was within the Gardens of Maecenas, founded by Gaius Maecenas the ally of Augustus and patron of the arts.  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.  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, but the location of Titus's residence remains unknown; the imperial estate of the Gardens of Maecenas may be a plausible candidate.  If the Laocoön group was already in the location of the later findspot by the time Pliny saw it, it might have arrived there under Maecenas or any of the emperors.  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.


Laokoon und seine Söhne

Prompt: ErkundeErkläre die Fundort dieses Kunstwerks, Laokoon und seine Söhne.Bitte auf Englisch ausgeben.

Category:Roman copies of Greek sculptures

File:C.sf., urbino, coppa con laocoonte, 1530-1545 circa.JPG

Category:Archaeological discoveries in Italy

Palace of the Grand Master of the Knights of Rhodes

Census of Antique Works of Art and Architecture Known in the Renaissance

:File:Giovanni Battista Nolli-Nuova Pianta di Roma (1748) 09-12.JPG

File:Caricature of the Laocoon group as apes.jpg

Titian's parody of the ''Laocoön'' as a group of apes

The Descent from the Cross (Rubens, 1612-1614)

The group as it was between c. 1540 and 1957, with Laocoön's extended arm; the sons' restored arms were removed in the 1980s.

Category:Antiquities acquired by Napoleon

Category:Sculptures in the Vatican Museums

This map shows the findspot of the sculpture{{snd}}near the R in "SERVIUS", east of the [[Sette Sale

sculptures at Tiberius's villa at Sperlonga

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.  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.  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. Research published in 2010 has recovered two documents in the municipal archives (badly indexed, and so missed by earlier researchers), which have established a much more precise location for the find: slightly to the east of the southern end of the Sette Sale, the ruined cistern for the successive imperial baths at the base of the hill by the Colosseum.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.  The second document, from 1527, makes it clear that there is now a house on the property, and clarifies the location; by then De Fredis was dead and his widow rented out the house. The house appears on a map of 1748, and still survives as a substantial building of three storeys, as of 2014 in the courtyard of a convent.  The area remained mainly agricultural until the 19th century, but is now entirely built up. 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.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.  The spot was within the Gardens of Maecenas, founded by Gaius Maecenas the ally of Augustus and patron of the arts.  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.  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, but the location of Titus's residence remains unknown; the imperial estate of the Gardens of Maecenas may be a plausible candidate.  If the Laocoön group was already in the location of the later findspot by the time Pliny saw it, it might have arrived there under Maecenas or any of the emperors.  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.


Laokoon und seine Söhne

Prompt: Wie erläutert Laokoon und seine Söhne seine Fundort?Bitte auf Englisch ausgeben.

Category:Roman copies of Greek sculptures

File:C.sf., urbino, coppa con laocoonte, 1530-1545 circa.JPG

Category:Archaeological discoveries in Italy

Palace of the Grand Master of the Knights of Rhodes

Census of Antique Works of Art and Architecture Known in the Renaissance

:File:Giovanni Battista Nolli-Nuova Pianta di Roma (1748) 09-12.JPG

File:Caricature of the Laocoon group as apes.jpg

Titian's parody of the ''Laocoön'' as a group of apes

The Descent from the Cross (Rubens, 1612-1614)

The group as it was between c. 1540 and 1957, with Laocoön's extended arm; the sons' restored arms were removed in the 1980s.

Category:Antiquities acquired by Napoleon

Category:Sculptures in the Vatican Museums

This map shows the findspot of the sculpture{{snd}}near the R in "SERVIUS", east of the [[Sette Sale

sculptures at Tiberius's villa at Sperlonga

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.  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.  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. Research published in 2010 has recovered two documents in the municipal archives (badly indexed, and so missed by earlier researchers), which have established a much more precise location for the find: slightly to the east of the southern end of the Sette Sale, the ruined cistern for the successive imperial baths at the base of the hill by the Colosseum.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.  The second document, from 1527, makes it clear that there is now a house on the property, and clarifies the location; by then De Fredis was dead and his widow rented out the house. The house appears on a map of 1748, and still survives as a substantial building of three storeys, as of 2014 in the courtyard of a convent.  The area remained mainly agricultural until the 19th century, but is now entirely built up. 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.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.  The spot was within the Gardens of Maecenas, founded by Gaius Maecenas the ally of Augustus and patron of the arts.  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.  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, but the location of Titus's residence remains unknown; the imperial estate of the Gardens of Maecenas may be a plausible candidate.  If the Laocoön group was already in the location of the later findspot by the time Pliny saw it, it might have arrived there under Maecenas or any of the emperors.  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.


Laokoon und seine Söhne

Prompt: Wie wird die Fundort in Laokoon und seine Söhne diskutiert?Bitte auf Englisch ausgeben.

Category:Roman copies of Greek sculptures

File:C.sf., urbino, coppa con laocoonte, 1530-1545 circa.JPG

Category:Archaeological discoveries in Italy

Palace of the Grand Master of the Knights of Rhodes

Census of Antique Works of Art and Architecture Known in the Renaissance

:File:Giovanni Battista Nolli-Nuova Pianta di Roma (1748) 09-12.JPG

File:Caricature of the Laocoon group as apes.jpg

Titian's parody of the ''Laocoön'' as a group of apes

The Descent from the Cross (Rubens, 1612-1614)

The group as it was between c. 1540 and 1957, with Laocoön's extended arm; the sons' restored arms were removed in the 1980s.

Category:Antiquities acquired by Napoleon

Category:Sculptures in the Vatican Museums

This map shows the findspot of the sculpture{{snd}}near the R in "SERVIUS", east of the [[Sette Sale

sculptures at Tiberius's villa at Sperlonga

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.  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.  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. Research published in 2010 has recovered two documents in the municipal archives (badly indexed, and so missed by earlier researchers), which have established a much more precise location for the find: slightly to the east of the southern end of the Sette Sale, the ruined cistern for the successive imperial baths at the base of the hill by the Colosseum.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.  The second document, from 1527, makes it clear that there is now a house on the property, and clarifies the location; by then De Fredis was dead and his widow rented out the house. The house appears on a map of 1748, and still survives as a substantial building of three storeys, as of 2014 in the courtyard of a convent.  The area remained mainly agricultural until the 19th century, but is now entirely built up. 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.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.  The spot was within the Gardens of Maecenas, founded by Gaius Maecenas the ally of Augustus and patron of the arts.  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.  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, but the location of Titus's residence remains unknown; the imperial estate of the Gardens of Maecenas may be a plausible candidate.  If the Laocoön group was already in the location of the later findspot by the time Pliny saw it, it might have arrived there under Maecenas or any of the emperors.  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.


Die Freiheit führt das Volk

Prompt: Fokussiere dich auf Die Freiheit führt das Volk und erkunde erkläre die abstract.Bitte auf Englisch ausgeben.

File:The separation barrier which runs through Bethlehem.jpg

''Freedom for France, freedoms for the French'' (1940), a poster depicting [[Marianne

Category:Allegorical paintings by French artists

Viva la Vida or Death and All His Friends

File:INF3-304 Unity of Strength La liberté pour la France, les libertés pour les Français.jpg

Category:Paintings in the Louvre by French artists

Liberty Leading the People (French: La Liberté guidant le peuple [la libɛʁte ɡidɑ̃ lə pœpl]) is a painting of the Romantic era by the French artist Eugène Delacroix,  commemorating the July Revolution of 1830 that toppled King Charles X (r. 1824-1830). A bare-breasted “woman of the people” with a Phrygian cap personifying the concept and Goddess of Liberty, accompanied by a young boy brandishing a pistol in each hand, leads a group of various people forward over a barricade and the bodies of the fallen while holding aloft the flag of the French Revolution — the tricolour, which again became France's national flag after these events — in one hand, and brandishing a bayonetted musket with the other. The figure of Liberty is also viewed as a symbol of France and the French Republic known as Marianne. The painting is sometimes wrongly thought to depict the French Revolution of 1789.Liberty Leading the People is exhibited in the Louvre in Paris.


Die Freiheit führt das Volk

Prompt: ErkundeErkläre die abstract dieses Kunstwerks, Die Freiheit führt das Volk.Bitte auf Englisch ausgeben.

File:The separation barrier which runs through Bethlehem.jpg

''Freedom for France, freedoms for the French'' (1940), a poster depicting [[Marianne

Category:Allegorical paintings by French artists

Viva la Vida or Death and All His Friends

File:INF3-304 Unity of Strength La liberté pour la France, les libertés pour les Français.jpg

Category:Paintings in the Louvre by French artists

Liberty Leading the People (French: La Liberté guidant le peuple [la libɛʁte ɡidɑ̃ lə pœpl]) is a painting of the Romantic era by the French artist Eugène Delacroix,  commemorating the July Revolution of 1830 that toppled King Charles X (r. 1824-1830). A bare-breasted “woman of the people” with a Phrygian cap personifying the concept and Goddess of Liberty, accompanied by a young boy brandishing a pistol in each hand, leads a group of various people forward over a barricade and the bodies of the fallen while holding aloft the flag of the French Revolution — the tricolour, which again became France's national flag after these events — in one hand, and brandishing a bayonetted musket with the other. The figure of Liberty is also viewed as a symbol of France and the French Republic known as Marianne. The painting is sometimes wrongly thought to depict the French Revolution of 1789.Liberty Leading the People is exhibited in the Louvre in Paris.


Die Freiheit führt das Volk

Prompt: Wie erläutert Die Freiheit führt das Volk seine abstract?Bitte auf Englisch ausgeben.

File:The separation barrier which runs through Bethlehem.jpg

''Freedom for France, freedoms for the French'' (1940), a poster depicting [[Marianne

Category:Allegorical paintings by French artists

Viva la Vida or Death and All His Friends

File:INF3-304 Unity of Strength La liberté pour la France, les libertés pour les Français.jpg

Category:Paintings in the Louvre by French artists

Liberty Leading the People (French: La Liberté guidant le peuple [la libɛʁte ɡidɑ̃ lə pœpl]) is a painting of the Romantic era by the French artist Eugène Delacroix,  commemorating the July Revolution of 1830 that toppled King Charles X (r. 1824-1830). A bare-breasted “woman of the people” with a Phrygian cap personifying the concept and Goddess of Liberty, accompanied by a young boy brandishing a pistol in each hand, leads a group of various people forward over a barricade and the bodies of the fallen while holding aloft the flag of the French Revolution — the tricolour, which again became France's national flag after these events — in one hand, and brandishing a bayonetted musket with the other. The figure of Liberty is also viewed as a symbol of France and the French Republic known as Marianne. The painting is sometimes wrongly thought to depict the French Revolution of 1789.Liberty Leading the People is exhibited in the Louvre in Paris.


Die Freiheit führt das Volk

Prompt: Wie wird die abstract in Die Freiheit führt das Volk diskutiert?Bitte auf Englisch ausgeben.

File:The separation barrier which runs through Bethlehem.jpg

''Freedom for France, freedoms for the French'' (1940), a poster depicting [[Marianne

Category:Allegorical paintings by French artists

Viva la Vida or Death and All His Friends

File:INF3-304 Unity of Strength La liberté pour la France, les libertés pour les Français.jpg

Category:Paintings in the Louvre by French artists

Liberty Leading the People (French: La Liberté guidant le peuple [la libɛʁte ɡidɑ̃ lə pœpl]) is a painting of the Romantic era by the French artist Eugène Delacroix,  commemorating the July Revolution of 1830 that toppled King Charles X (r. 1824-1830). A bare-breasted “woman of the people” with a Phrygian cap personifying the concept and Goddess of Liberty, accompanied by a young boy brandishing a pistol in each hand, leads a group of various people forward over a barricade and the bodies of the fallen while holding aloft the flag of the French Revolution — the tricolour, which again became France's national flag after these events — in one hand, and brandishing a bayonetted musket with the other. The figure of Liberty is also viewed as a symbol of France and the French Republic known as Marianne. The painting is sometimes wrongly thought to depict the French Revolution of 1789.Liberty Leading the People is exhibited in the Louvre in Paris.


Die Freiheit führt das Volk

Prompt: Fokussiere dich auf Die Freiheit führt das Volk und erkunde erkläre die Geschichte.Bitte auf Englisch ausgeben.

File:The separation barrier which runs through Bethlehem.jpg

''Freedom for France, freedoms for the French'' (1940), a poster depicting [[Marianne

Category:Allegorical paintings by French artists

personifying the concept and Goddess of Liberty

Viva la Vida or Death and All His Friends

File:INF3-304 Unity of Strength La liberté pour la France, les libertés pour les Français.jpg

Category:Paintings in the Louvre by French artists

By the time Delacroix painted Liberty Leading the People, he was already the acknowledged leader of the Romantic school in French painting. Delacroix, who was born as the Age of Enlightenment was giving way to the ideas and style of romanticism, rejected the emphasis on precise drawing that characterised the academic art of his time, and instead gave a new prominence to freely brushed colour.Delacroix painted his work in the autumn of 1830. In a letter to his brother dated 21 October, he wrote: "My bad mood is vanishing thanks to hard work. I've embarked on a modern subject—a barricade. And if I haven't fought for my country at least I'll paint for her." The painting was first exhibited at the official Salon of 1831.


Die Freiheit führt das Volk

Prompt: ErkundeErkläre die Geschichte dieses Kunstwerks, Die Freiheit führt das Volk.Bitte auf Englisch ausgeben.

File:The separation barrier which runs through Bethlehem.jpg

''Freedom for France, freedoms for the French'' (1940), a poster depicting [[Marianne

Category:Allegorical paintings by French artists

personifying the concept and Goddess of Liberty

Viva la Vida or Death and All His Friends

File:INF3-304 Unity of Strength La liberté pour la France, les libertés pour les Français.jpg

Category:Paintings in the Louvre by French artists

By the time Delacroix painted Liberty Leading the People, he was already the acknowledged leader of the Romantic school in French painting. Delacroix, who was born as the Age of Enlightenment was giving way to the ideas and style of romanticism, rejected the emphasis on precise drawing that characterised the academic art of his time, and instead gave a new prominence to freely brushed colour.Delacroix painted his work in the autumn of 1830. In a letter to his brother dated 21 October, he wrote: "My bad mood is vanishing thanks to hard work. I've embarked on a modern subject—a barricade. And if I haven't fought for my country at least I'll paint for her." The painting was first exhibited at the official Salon of 1831.


Die Freiheit führt das Volk

Prompt: Wie erläutert Die Freiheit führt das Volk seine Geschichte?Bitte auf Englisch ausgeben.

File:The separation barrier which runs through Bethlehem.jpg

''Freedom for France, freedoms for the French'' (1940), a poster depicting [[Marianne

Category:Allegorical paintings by French artists

personifying the concept and Goddess of Liberty

Viva la Vida or Death and All His Friends

File:INF3-304 Unity of Strength La liberté pour la France, les libertés pour les Français.jpg

Category:Paintings in the Louvre by French artists

By the time Delacroix painted Liberty Leading the People, he was already the acknowledged leader of the Romantic school in French painting. Delacroix, who was born as the Age of Enlightenment was giving way to the ideas and style of romanticism, rejected the emphasis on precise drawing that characterised the academic art of his time, and instead gave a new prominence to freely brushed colour.Delacroix painted his work in the autumn of 1830. In a letter to his brother dated 21 October, he wrote: "My bad mood is vanishing thanks to hard work. I've embarked on a modern subject—a barricade. And if I haven't fought for my country at least I'll paint for her." The painting was first exhibited at the official Salon of 1831.


Die Freiheit führt das Volk

Prompt: Wie wird die Geschichte in Die Freiheit führt das Volk diskutiert?Bitte auf Englisch ausgeben.

File:The separation barrier which runs through Bethlehem.jpg

''Freedom for France, freedoms for the French'' (1940), a poster depicting [[Marianne

Category:Allegorical paintings by French artists

personifying the concept and Goddess of Liberty

Viva la Vida or Death and All His Friends

File:INF3-304 Unity of Strength La liberté pour la France, les libertés pour les Français.jpg

Category:Paintings in the Louvre by French artists

By the time Delacroix painted Liberty Leading the People, he was already the acknowledged leader of the Romantic school in French painting. Delacroix, who was born as the Age of Enlightenment was giving way to the ideas and style of romanticism, rejected the emphasis on precise drawing that characterised the academic art of his time, and instead gave a new prominence to freely brushed colour.Delacroix painted his work in the autumn of 1830. In a letter to his brother dated 21 October, he wrote: "My bad mood is vanishing thanks to hard work. I've embarked on a modern subject—a barricade. And if I haven't fought for my country at least I'll paint for her." The painting was first exhibited at the official Salon of 1831.


Die Freiheit führt das Volk

Prompt: Fokussiere dich auf Die Freiheit führt das Volk und erkunde erkläre die Symbolismus.Bitte auf Englisch ausgeben.

File:The separation barrier which runs through Bethlehem.jpg

''Freedom for France, freedoms for the French'' (1940), a poster depicting [[Marianne

Category:Allegorical paintings by French artists

personifying the concept and Goddess of Liberty

Viva la Vida or Death and All His Friends

File:INF3-304 Unity of Strength La liberté pour la France, les libertés pour les Français.jpg

Category:Paintings in the Louvre by French artists

Delacroix depicted Liberty as both an allegorical goddess-figure and a robust woman of the people. The mound of corpses and wreckage acts as a kind of pedestal from which Liberty strides, barefoot and bare-breasted, out of the canvas and into the space of the viewer. The Phrygian cap she wears had come to symbolize liberty during the first French Revolution, of 1789. The painting has been seen as a marker to the end of the Age of Enlightenment, as many scholars see the end of the French Revolution as the start of the Romantic era.The fighters are from a mixture of social classes, ranging from the bourgeoisie represented by the young man in a top hat, a student from the prestigious École Polytechnique wearing the traditional bicorne, to the revolutionary urban worker, as exemplified by the boy holding pistols. What they have in common is the fierceness and determination in their eyes. Aside from the flag held by Liberty, a second, minute tricolore can be discerned in the distance flying from the towers of Notre-Dame.The identity of the man in the top hat has been widely debated. The suggestion that it was a self-portrait by Delacroix has been discounted by modern art historians. In the late 19th century, it was suggested the model was the theatre director Étienne Arago; others have suggested the future curator of the Louvre, Frédéric Villot; but there is no firm consensus on this point.Several of the figures are probably borrowed from a print by popular artist Nicolas Charlet, a prolific illustrator who Delacroix believed captured, more than anyone else, the peculiar energy of the Parisians.


Die Freiheit führt das Volk

Prompt: ErkundeErkläre die Symbolismus dieses Kunstwerks, Die Freiheit führt das Volk.Bitte auf Englisch ausgeben.

File:The separation barrier which runs through Bethlehem.jpg

''Freedom for France, freedoms for the French'' (1940), a poster depicting [[Marianne

Category:Allegorical paintings by French artists

personifying the concept and Goddess of Liberty

Viva la Vida or Death and All His Friends

File:INF3-304 Unity of Strength La liberté pour la France, les libertés pour les Français.jpg

Category:Paintings in the Louvre by French artists

Delacroix depicted Liberty as both an allegorical goddess-figure and a robust woman of the people. The mound of corpses and wreckage acts as a kind of pedestal from which Liberty strides, barefoot and bare-breasted, out of the canvas and into the space of the viewer. The Phrygian cap she wears had come to symbolize liberty during the first French Revolution, of 1789. The painting has been seen as a marker to the end of the Age of Enlightenment, as many scholars see the end of the French Revolution as the start of the Romantic era.The fighters are from a mixture of social classes, ranging from the bourgeoisie represented by the young man in a top hat, a student from the prestigious École Polytechnique wearing the traditional bicorne, to the revolutionary urban worker, as exemplified by the boy holding pistols. What they have in common is the fierceness and determination in their eyes. Aside from the flag held by Liberty, a second, minute tricolore can be discerned in the distance flying from the towers of Notre-Dame.The identity of the man in the top hat has been widely debated. The suggestion that it was a self-portrait by Delacroix has been discounted by modern art historians. In the late 19th century, it was suggested the model was the theatre director Étienne Arago; others have suggested the future curator of the Louvre, Frédéric Villot; but there is no firm consensus on this point.Several of the figures are probably borrowed from a print by popular artist Nicolas Charlet, a prolific illustrator who Delacroix believed captured, more than anyone else, the peculiar energy of the Parisians.


Die Freiheit führt das Volk

Prompt: Wie erläutert Die Freiheit führt das Volk seine Symbolismus?Bitte auf Englisch ausgeben.

File:The separation barrier which runs through Bethlehem.jpg

''Freedom for France, freedoms for the French'' (1940), a poster depicting [[Marianne

Category:Allegorical paintings by French artists

personifying the concept and Goddess of Liberty

Viva la Vida or Death and All His Friends

File:INF3-304 Unity of Strength La liberté pour la France, les libertés pour les Français.jpg

Category:Paintings in the Louvre by French artists

Delacroix depicted Liberty as both an allegorical goddess-figure and a robust woman of the people. The mound of corpses and wreckage acts as a kind of pedestal from which Liberty strides, barefoot and bare-breasted, out of the canvas and into the space of the viewer. The Phrygian cap she wears had come to symbolize liberty during the first French Revolution, of 1789. The painting has been seen as a marker to the end of the Age of Enlightenment, as many scholars see the end of the French Revolution as the start of the Romantic era.The fighters are from a mixture of social classes, ranging from the bourgeoisie represented by the young man in a top hat, a student from the prestigious École Polytechnique wearing the traditional bicorne, to the revolutionary urban worker, as exemplified by the boy holding pistols. What they have in common is the fierceness and determination in their eyes. Aside from the flag held by Liberty, a second, minute tricolore can be discerned in the distance flying from the towers of Notre-Dame.The identity of the man in the top hat has been widely debated. The suggestion that it was a self-portrait by Delacroix has been discounted by modern art historians. In the late 19th century, it was suggested the model was the theatre director Étienne Arago; others have suggested the future curator of the Louvre, Frédéric Villot; but there is no firm consensus on this point.Several of the figures are probably borrowed from a print by popular artist Nicolas Charlet, a prolific illustrator who Delacroix believed captured, more than anyone else, the peculiar energy of the Parisians.


Die Freiheit führt das Volk

Prompt: Wie wird die Symbolismus in Die Freiheit führt das Volk diskutiert?Bitte auf Englisch ausgeben.

File:The separation barrier which runs through Bethlehem.jpg

''Freedom for France, freedoms for the French'' (1940), a poster depicting [[Marianne

Category:Allegorical paintings by French artists

personifying the concept and Goddess of Liberty

Viva la Vida or Death and All His Friends

File:INF3-304 Unity of Strength La liberté pour la France, les libertés pour les Français.jpg

Category:Paintings in the Louvre by French artists

Delacroix depicted Liberty as both an allegorical goddess-figure and a robust woman of the people. The mound of corpses and wreckage acts as a kind of pedestal from which Liberty strides, barefoot and bare-breasted, out of the canvas and into the space of the viewer. The Phrygian cap she wears had come to symbolize liberty during the first French Revolution, of 1789. The painting has been seen as a marker to the end of the Age of Enlightenment, as many scholars see the end of the French Revolution as the start of the Romantic era.The fighters are from a mixture of social classes, ranging from the bourgeoisie represented by the young man in a top hat, a student from the prestigious École Polytechnique wearing the traditional bicorne, to the revolutionary urban worker, as exemplified by the boy holding pistols. What they have in common is the fierceness and determination in their eyes. Aside from the flag held by Liberty, a second, minute tricolore can be discerned in the distance flying from the towers of Notre-Dame.The identity of the man in the top hat has been widely debated. The suggestion that it was a self-portrait by Delacroix has been discounted by modern art historians. In the late 19th century, it was suggested the model was the theatre director Étienne Arago; others have suggested the future curator of the Louvre, Frédéric Villot; but there is no firm consensus on this point.Several of the figures are probably borrowed from a print by popular artist Nicolas Charlet, a prolific illustrator who Delacroix believed captured, more than anyone else, the peculiar energy of the Parisians.


Die Freiheit führt das Volk

Prompt: Fokussiere dich auf Die Freiheit führt das Volk und erkunde erkläre die Kauf und Ausstellung.Bitte auf Englisch ausgeben.

File:The separation barrier which runs through Bethlehem.jpg

''Freedom for France, freedoms for the French'' (1940), a poster depicting [[Marianne

Category:Allegorical paintings by French artists

personifying the concept and Goddess of Liberty

Viva la Vida or Death and All His Friends

File:INF3-304 Unity of Strength La liberté pour la France, les libertés pour les Français.jpg

Category:Paintings in the Louvre by French artists

The French government bought the painting in 1831 for 3,000 francs with the intention of displaying it in the throne room of the Palais du Luxembourg as a reminder to the "citizen-king" Louis-Philippe of the July Revolution, through which he had come to power. This plan did not come to fruition and the canvas hung in the palace's museum gallery for a few months, before being removed due to its inflammatory political message. After the June Rebellion of 1832, it was returned to the artist. According to Albert Boime,Champfleury wrote in August 1848 that it had been "hidden in an attic for being too revolutionary." Although Louis-Philippe's Ministry of the Interior initially acquired it as a gesture to the Left, after the uprising at the funeral of Lamarque in June 1832 it was never again openly displayed for fear of setting a bad example. Delacroix was permitted to send the painting to his aunt Félicité for safekeeping. After the Second Republic was established following the revolution of 1848 it was exhibited briefly in that year, and then during the Second Empire in the Salon of 1855. The recently established Third Republic finally acquired the painting in 1874 for the collection of the Musée du Louvre in Paris.In 1974–75, the painting was the featured work in an exhibition organized by the French government, the Metropolitan Museum of Art in New York and the Detroit Institute of Arts as a Bicentennial gift to the people of the United States. The exhibition, entitled French Painting 1774–1830: The Age of Revolution, marked a rare display of the Delacroix painting, and many of the other 148 works, outside France.  The exhibition was first shown at the Grand Palais from 16 November 1974 to 3 February 1975. It moved to Detroit from 5 March to 4 May 1975, then New York from 12 June to 7 September 1975.In 1999, it was flown on board an Airbus Beluga from Paris to Tokyo via Bahrain and Calcutta in about 20 hours. The large canvas, measuring 2.99 metres (9.8 feet) high by 3.62 metres (11.9 feet) long, was too large to fit into a Boeing 747. It was transported in the vertical position inside a special pressurised container provided with isothermal protection and an anti-vibration device.In 2012, it was moved to the new Louvre-Lens museum in Lens, Pas-de-Calais, as the starring work in the first tranche of paintings from the Louvre's collection to be installed. On 7 February 2013, the painting was vandalized by a visitor in Lens. An unidentified 28-year-old woman allegedly wrote an inscription ("AE911") on the painting. The woman was immediately arrested by a security guard and a visitor. A short time after the incident, the management of the Louvre and its Pas-de-Calais branch published a press release indicating that "at first glance, the inscription is superficial and should be easily removed". Louvre officials announced the next day that the writing had been removed in less than two hours by a restorer without damaging the original paint, and the piece returned to display that morning.In September 2023, officials removed the work from display for its latest conservation and restoration. To prepare, the museum first subjected the painting to X-ray, ultraviolet and infrared analysis. These examinations led to the discovery that many of the painting's brilliant colors were muted under several layers of yellowed varnish and dust. The size of the canvas forced conservators to perform all work on-site.  The restored painting returned to display in April 2024. During their work, restorers discovered several things hidden under eight layers of varnish and dirt.  In addition to the vivid white clouds and plumes of smoke, they found the central figure's dress was not entirely yellow but originally light grey with bits of gold.  They believed this change occurred during restoration work completed in 1949.  Also, they discovered a boot in the lower left corner which for many years had blended into the paving stones.