Laocoön och hans söner

Prompt: I samband med Laocoön och hans söner, förklara Restaureringar och Historia.Var god och output på engelska.

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.


Laocoön och hans söner

Prompt: Förklara Restaureringar om Historia i detta konstverk, Laocoön och hans söner.Var god och output på engelska.

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.


Laocoön och hans söner

Prompt: Hur förklaras Restaureringar av Historia i Laocoön och hans söner?Var god och output på engelska.

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.


Laocoön och hans söner

Prompt: Beskriv egenskaperna hos Restaureringar i Laocoön och hans söners Historia.Var god och output på engelska.

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.


Laocoön och hans söner

Prompt: Fokusera på Laocoön och hans söner och förklara Påverkan.Var god och output på engelska.

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.


Laocoön och hans söner

Prompt: Förklara Påverkan i detta konstverk, Laocoön och hans söner.Var god och output på engelska.

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.


Laocoön och hans söner

Prompt: Hur förklarar Laocoön och hans söner sitt Påverkan?Var god och output på engelska.

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.


Laocoön och hans söner

Prompt: I Laocoön och hans söner, hur diskuteras Påverkan?Var god och output på engelska.

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.


Laocoön och hans söner

Prompt: I samband med Laocoön och hans söner, förklara Laocoön som en ideal av konst och Påverkan.Var god och output på engelska.

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.


Laocoön och hans söner

Prompt: Förklara Laocoön som en ideal av konst om Påverkan i detta konstverk, Laocoön och hans söner.Var god och output på engelska.

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.


Laocoön och hans söner

Prompt: Hur förklaras Laocoön som en ideal av konst av Påverkan i Laocoön och hans söner?Var god och output på engelska.

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.


Laocoön och hans söner

Prompt: Beskriv egenskaperna hos Laocoön som en ideal av konst i Laocoön och hans söners Påverkan.Var god och output på engelska.

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.


Laocoön och hans söner

Prompt: Fokusera på Laocoön och hans söner och förklara Fyndplats.Var god och output på engelska.

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.


Laocoön och hans söner

Prompt: Förklara Fyndplats i detta konstverk, Laocoön och hans söner.Var god och output på engelska.

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.


Laocoön och hans söner

Prompt: Hur förklarar Laocoön och hans söner sitt Fyndplats?Var god och output på engelska.

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.


Laocoön och hans söner

Prompt: I Laocoön och hans söner, hur diskuteras Fyndplats?Var god och output på engelska.

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.


Friheten leder folket

Prompt: Fokusera på Friheten leder folket och förklara abstract.Var god och output på engelska.

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.


Friheten leder folket

Prompt: Förklara abstract i detta konstverk, Friheten leder folket.Var god och output på engelska.

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.


Friheten leder folket

Prompt: Hur förklarar Friheten leder folket sitt abstract?Var god och output på engelska.

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.


Friheten leder folket

Prompt: I Friheten leder folket, hur diskuteras abstract?Var god och output på engelska.

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.


Friheten leder folket

Prompt: Fokusera på Friheten leder folket och förklara Historia.Var god och output på engelska.

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.


Friheten leder folket

Prompt: Förklara Historia i detta konstverk, Friheten leder folket.Var god och output på engelska.

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.


Friheten leder folket

Prompt: Hur förklarar Friheten leder folket sitt Historia?Var god och output på engelska.

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.


Friheten leder folket

Prompt: I Friheten leder folket, hur diskuteras Historia?Var god och output på engelska.

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.


Friheten leder folket

Prompt: Fokusera på Friheten leder folket och förklara Symbolism.Var god och output på engelska.

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.


Friheten leder folket

Prompt: Förklara Symbolism i detta konstverk, Friheten leder folket.Var god och output på engelska.

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.


Friheten leder folket

Prompt: Hur förklarar Friheten leder folket sitt Symbolism?Var god och output på engelska.

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.


Friheten leder folket

Prompt: I Friheten leder folket, hur diskuteras Symbolism?Var god och output på engelska.

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.


Friheten leder folket

Prompt: Fokusera på Friheten leder folket och förklara Arv.Var god och output på engelska.

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

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

Although Delacroix was not the first artist to depict Liberty in a Phrygian cap, his painting may be the best known early version of the figure commonly known as Marianne, a symbol of the French Republic and of France in general.The painting may have influenced Victor Hugo's 1862 novel Les Misérables. In particular, the character of Gavroche is widely believed to have been inspired by the figure of the pistols-wielding boy running over the barricade. The novel describes the events of the June Rebellion two years after the revolution celebrated in the painting, the same rebellion that led to its being removed from public view.The painting inspired Frédéric Auguste Bartholdi's Liberty Enlightening the World, known as the Statue of Liberty in New York City, which was given to the United States as a gift from the French a half-century after Liberty Leading the People was painted. The statue, which holds a torch in its hand, takes a more stable, immovable stance than that of the woman in the painting. An engraved version of part of the painting, along with a depiction of Delacroix, was featured on the 100 franc note from 1978 to 1995.The painting has had an influence on classical music. George Antheil titled his Symphony No. 6 After Delacroix, and stated that the work was inspired by Liberty Leading the People.  The imagery was adapted by Robert Ballagh to commemorate Ireland's independence struggle on an Irish postage stamp in 1979, the centenary of the birth of Pádraig Pearse, and the painting was used for the band Coldplay's 2008 album cover Viva la Vida or Death and All His Friends, with the words Viva La Vida written in white.  Rigoberta Bandini references the painting in the chorus of her 2021 song Ay mamá. The cover of the 2010 book Enough is Enough: How to Build a New Republic by Fintan O'Toole references the painting, but with Kathleen Ni Houlihan holding the Irish tricolour in Dublin while the leaders of the three main political parties at the time (Brian Cowen, Enda Kenny and Eamon Gilmore) lie on the ground.During the 20 October 2011 episode of the BBC Radio 4 series In Our Time, host Melvyn Bragg led a panel discussion of the painting.Liberty Leading the People made an appearance in the 11th episode ("EDGELORD – Revolution of the 14-Year-Olds") of the Netflix animation series Ghost in the Shell: SAC 2045.The painting was featured in Vincenzo, a 2021 South Korean TV series starring Song Joong-ki in episode 7. The series is also available on Netflix.A photograph of Aed Abu Amro taken during the 2018–2019 Gaza border protests by Mustafa Hassona on 22 October 2018, was considered by some a personification of the Liberty Leading the People.Libery Leading the People makes a prominent appearance in the 2023 film John Wick Chapter 4, starring Keanu Reeves. Near the end of the second act, main antagonist,  Marquis Vincent de Garmont (Bill Skarsgård) is seen standing before Liberty Leading the People inside the Louvre Museum, which was famously closed to the public for the filming of the scenes.Actors recreated the painting during the Opening Ceremonies of the 2024 Olympics at the Conciergerie. During the recreation, they were accompanied by the French version of "Do You Hear The People Sing?" from Les Misérables.


Friheten leder folket

Prompt: Förklara Arv i detta konstverk, Friheten leder folket.Var god och output på engelska.

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

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

Although Delacroix was not the first artist to depict Liberty in a Phrygian cap, his painting may be the best known early version of the figure commonly known as Marianne, a symbol of the French Republic and of France in general.The painting may have influenced Victor Hugo's 1862 novel Les Misérables. In particular, the character of Gavroche is widely believed to have been inspired by the figure of the pistols-wielding boy running over the barricade. The novel describes the events of the June Rebellion two years after the revolution celebrated in the painting, the same rebellion that led to its being removed from public view.The painting inspired Frédéric Auguste Bartholdi's Liberty Enlightening the World, known as the Statue of Liberty in New York City, which was given to the United States as a gift from the French a half-century after Liberty Leading the People was painted. The statue, which holds a torch in its hand, takes a more stable, immovable stance than that of the woman in the painting. An engraved version of part of the painting, along with a depiction of Delacroix, was featured on the 100 franc note from 1978 to 1995.The painting has had an influence on classical music. George Antheil titled his Symphony No. 6 After Delacroix, and stated that the work was inspired by Liberty Leading the People.  The imagery was adapted by Robert Ballagh to commemorate Ireland's independence struggle on an Irish postage stamp in 1979, the centenary of the birth of Pádraig Pearse, and the painting was used for the band Coldplay's 2008 album cover Viva la Vida or Death and All His Friends, with the words Viva La Vida written in white.  Rigoberta Bandini references the painting in the chorus of her 2021 song Ay mamá. The cover of the 2010 book Enough is Enough: How to Build a New Republic by Fintan O'Toole references the painting, but with Kathleen Ni Houlihan holding the Irish tricolour in Dublin while the leaders of the three main political parties at the time (Brian Cowen, Enda Kenny and Eamon Gilmore) lie on the ground.During the 20 October 2011 episode of the BBC Radio 4 series In Our Time, host Melvyn Bragg led a panel discussion of the painting.Liberty Leading the People made an appearance in the 11th episode ("EDGELORD – Revolution of the 14-Year-Olds") of the Netflix animation series Ghost in the Shell: SAC 2045.The painting was featured in Vincenzo, a 2021 South Korean TV series starring Song Joong-ki in episode 7. The series is also available on Netflix.A photograph of Aed Abu Amro taken during the 2018–2019 Gaza border protests by Mustafa Hassona on 22 October 2018, was considered by some a personification of the Liberty Leading the People.Libery Leading the People makes a prominent appearance in the 2023 film John Wick Chapter 4, starring Keanu Reeves. Near the end of the second act, main antagonist,  Marquis Vincent de Garmont (Bill Skarsgård) is seen standing before Liberty Leading the People inside the Louvre Museum, which was famously closed to the public for the filming of the scenes.Actors recreated the painting during the Opening Ceremonies of the 2024 Olympics at the Conciergerie. During the recreation, they were accompanied by the French version of "Do You Hear The People Sing?" from Les Misérables.