section

La Liberté guidant le peuple

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  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.

Prompt: Comment La Liberté guidant le peuple explique-t-il sa Symbolisme?Veuillez sortir en anglais.

Age of Enlightenment
French Revolution
Frédéric Villot
Louvre
Louvre
Paris
Phrygian cap


section

La Liberté guidant le peuple

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  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.

Prompt: Dans La Liberté guidant le peuple, comment est discutée la Symbolisme?Veuillez sortir en anglais.

Age of Enlightenment
French Revolution
Frédéric Villot
Louvre
Louvre
Paris
Phrygian cap


section

La Liberté guidant le peuple

The French government bought the painting in 1831 for 3,000 francs with the intention of displaying it in the throne room of the Palais du Luxembourg as a reminder to the "citizen-king" Louis-Philippe of the July Revolution, through which he had come to power. This plan did not come to fruition and the canvas hung in the palace's museum gallery for a few months, before being removed due to its inflammatory political message. After the June Rebellion of 1832, it was returned to the artist. According to Albert Boime, Delacroix was permitted to send the painting to his aunt Félicité for safekeeping. After the Second Republic was established following the revolution of 1848 it was exhibited briefly in that year, and then during the Second Empire in the Salon of 1855. The recently established Third Republic finally acquired the painting in 1874 for the collection of the Musée du Louvre in Paris.In 1974–75, the painting was the featured work in an exhibition organized by the French government, the Metropolitan Museum of Art in New York and the Detroit Institute of Arts as a Bicentennial gift to the people of the United States. The exhibition, entitled French Painting 1774–1830: The Age of Revolution, marked a rare display of the Delacroix painting, and many of the other 148 works, outside France.  The exhibition was first shown at the Grand Palais from 16 November 1974 to 3 February 1975. It moved to Detroit from 5 March to 4 May 1975, then New York from 12 June to 7 September 1975.In 1999, it was flown on board an Airbus Beluga from Paris to Tokyo via Bahrain and Calcutta in about 20 hours. The large canvas, measuring  high by  long, was too large to fit into a Boeing 747. It was transported in the vertical position inside a special pressurised container provided with isothermal protection and an anti-vibration device.In 2012, it was moved to the new Louvre-Lens museum in Lens, Pas-de-Calais, as the starring work in the first tranche of paintings from the Louvre's collection to be installed. On 7 February 2013, the painting was vandalized by a visitor in Lens. An unidentified 28-year-old woman allegedly wrote an inscription  on the painting. The woman was immediately arrested by a security guard and a visitor. A short time after the incident, the management of the Louvre and its Pas-de-Calais branch published a press release indicating that "at first glance, the inscription is superficial and should be easily removed". Louvre officials announced the next day that the writing had been removed in less than two hours by a restorer without damaging the original paint, and the piece returned to display that morning.

Prompt: Concentrez-vous sur La Liberté guidant le peuple et expliquez la achat, exposition.Veuillez sortir en anglais.

Airbus Beluga
Albert Boime
Bahrain
Detroit
Detroit Institute of Arts
France
France
Grand Palais
July Revolution
June Rebellion
Lens, Pas-de-Calais
Louvre
Louvre-Lens
Metropolitan Museum of Art
Louvre
Paris
Tokyo


section

La Liberté guidant le peuple

The French government bought the painting in 1831 for 3,000 francs with the intention of displaying it in the throne room of the Palais du Luxembourg as a reminder to the "citizen-king" Louis-Philippe of the July Revolution, through which he had come to power. This plan did not come to fruition and the canvas hung in the palace's museum gallery for a few months, before being removed due to its inflammatory political message. After the June Rebellion of 1832, it was returned to the artist. According to Albert Boime, Delacroix was permitted to send the painting to his aunt Félicité for safekeeping. After the Second Republic was established following the revolution of 1848 it was exhibited briefly in that year, and then during the Second Empire in the Salon of 1855. The recently established Third Republic finally acquired the painting in 1874 for the collection of the Musée du Louvre in Paris.In 1974–75, the painting was the featured work in an exhibition organized by the French government, the Metropolitan Museum of Art in New York and the Detroit Institute of Arts as a Bicentennial gift to the people of the United States. The exhibition, entitled French Painting 1774–1830: The Age of Revolution, marked a rare display of the Delacroix painting, and many of the other 148 works, outside France.  The exhibition was first shown at the Grand Palais from 16 November 1974 to 3 February 1975. It moved to Detroit from 5 March to 4 May 1975, then New York from 12 June to 7 September 1975.In 1999, it was flown on board an Airbus Beluga from Paris to Tokyo via Bahrain and Calcutta in about 20 hours. The large canvas, measuring  high by  long, was too large to fit into a Boeing 747. It was transported in the vertical position inside a special pressurised container provided with isothermal protection and an anti-vibration device.In 2012, it was moved to the new Louvre-Lens museum in Lens, Pas-de-Calais, as the starring work in the first tranche of paintings from the Louvre's collection to be installed. On 7 February 2013, the painting was vandalized by a visitor in Lens. An unidentified 28-year-old woman allegedly wrote an inscription  on the painting. The woman was immediately arrested by a security guard and a visitor. A short time after the incident, the management of the Louvre and its Pas-de-Calais branch published a press release indicating that "at first glance, the inscription is superficial and should be easily removed". Louvre officials announced the next day that the writing had been removed in less than two hours by a restorer without damaging the original paint, and the piece returned to display that morning.

Prompt: Expliquer la achat, exposition de cette œuvre d'art, La Liberté guidant le peuple.Veuillez sortir en anglais.

Airbus Beluga
Albert Boime
Bahrain
Detroit
Detroit Institute of Arts
France
France
Grand Palais
July Revolution
June Rebellion
Lens, Pas-de-Calais
Louvre
Louvre-Lens
Metropolitan Museum of Art
Louvre
Paris
Tokyo


section

La Liberté guidant le peuple

The French government bought the painting in 1831 for 3,000 francs with the intention of displaying it in the throne room of the Palais du Luxembourg as a reminder to the "citizen-king" Louis-Philippe of the July Revolution, through which he had come to power. This plan did not come to fruition and the canvas hung in the palace's museum gallery for a few months, before being removed due to its inflammatory political message. After the June Rebellion of 1832, it was returned to the artist. According to Albert Boime, Delacroix was permitted to send the painting to his aunt Félicité for safekeeping. After the Second Republic was established following the revolution of 1848 it was exhibited briefly in that year, and then during the Second Empire in the Salon of 1855. The recently established Third Republic finally acquired the painting in 1874 for the collection of the Musée du Louvre in Paris.In 1974–75, the painting was the featured work in an exhibition organized by the French government, the Metropolitan Museum of Art in New York and the Detroit Institute of Arts as a Bicentennial gift to the people of the United States. The exhibition, entitled French Painting 1774–1830: The Age of Revolution, marked a rare display of the Delacroix painting, and many of the other 148 works, outside France.  The exhibition was first shown at the Grand Palais from 16 November 1974 to 3 February 1975. It moved to Detroit from 5 March to 4 May 1975, then New York from 12 June to 7 September 1975.In 1999, it was flown on board an Airbus Beluga from Paris to Tokyo via Bahrain and Calcutta in about 20 hours. The large canvas, measuring  high by  long, was too large to fit into a Boeing 747. It was transported in the vertical position inside a special pressurised container provided with isothermal protection and an anti-vibration device.In 2012, it was moved to the new Louvre-Lens museum in Lens, Pas-de-Calais, as the starring work in the first tranche of paintings from the Louvre's collection to be installed. On 7 February 2013, the painting was vandalized by a visitor in Lens. An unidentified 28-year-old woman allegedly wrote an inscription  on the painting. The woman was immediately arrested by a security guard and a visitor. A short time after the incident, the management of the Louvre and its Pas-de-Calais branch published a press release indicating that "at first glance, the inscription is superficial and should be easily removed". Louvre officials announced the next day that the writing had been removed in less than two hours by a restorer without damaging the original paint, and the piece returned to display that morning.

Prompt: Comment La Liberté guidant le peuple explique-t-il sa achat, exposition?Veuillez sortir en anglais.

Airbus Beluga
Albert Boime
Bahrain
Detroit
Detroit Institute of Arts
France
France
Grand Palais
July Revolution
June Rebellion
Lens, Pas-de-Calais
Louvre
Louvre-Lens
Metropolitan Museum of Art
Louvre
Paris
Tokyo


section

La Liberté guidant le peuple

The French government bought the painting in 1831 for 3,000 francs with the intention of displaying it in the throne room of the Palais du Luxembourg as a reminder to the "citizen-king" Louis-Philippe of the July Revolution, through which he had come to power. This plan did not come to fruition and the canvas hung in the palace's museum gallery for a few months, before being removed due to its inflammatory political message. After the June Rebellion of 1832, it was returned to the artist. According to Albert Boime, Delacroix was permitted to send the painting to his aunt Félicité for safekeeping. After the Second Republic was established following the revolution of 1848 it was exhibited briefly in that year, and then during the Second Empire in the Salon of 1855. The recently established Third Republic finally acquired the painting in 1874 for the collection of the Musée du Louvre in Paris.In 1974–75, the painting was the featured work in an exhibition organized by the French government, the Metropolitan Museum of Art in New York and the Detroit Institute of Arts as a Bicentennial gift to the people of the United States. The exhibition, entitled French Painting 1774–1830: The Age of Revolution, marked a rare display of the Delacroix painting, and many of the other 148 works, outside France.  The exhibition was first shown at the Grand Palais from 16 November 1974 to 3 February 1975. It moved to Detroit from 5 March to 4 May 1975, then New York from 12 June to 7 September 1975.In 1999, it was flown on board an Airbus Beluga from Paris to Tokyo via Bahrain and Calcutta in about 20 hours. The large canvas, measuring  high by  long, was too large to fit into a Boeing 747. It was transported in the vertical position inside a special pressurised container provided with isothermal protection and an anti-vibration device.In 2012, it was moved to the new Louvre-Lens museum in Lens, Pas-de-Calais, as the starring work in the first tranche of paintings from the Louvre's collection to be installed. On 7 February 2013, the painting was vandalized by a visitor in Lens. An unidentified 28-year-old woman allegedly wrote an inscription  on the painting. The woman was immediately arrested by a security guard and a visitor. A short time after the incident, the management of the Louvre and its Pas-de-Calais branch published a press release indicating that "at first glance, the inscription is superficial and should be easily removed". Louvre officials announced the next day that the writing had been removed in less than two hours by a restorer without damaging the original paint, and the piece returned to display that morning.

Prompt: Dans La Liberté guidant le peuple, comment est discutée la achat, exposition?Veuillez sortir en anglais.

Airbus Beluga
Albert Boime
Bahrain
Detroit
Detroit Institute of Arts
France
France
Grand Palais
July Revolution
June Rebellion
Lens, Pas-de-Calais
Louvre
Louvre-Lens
Metropolitan Museum of Art
Louvre
Paris
Tokyo


section

La Liberté guidant le peuple

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  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  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  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  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.

Prompt: Concentrez-vous sur La Liberté guidant le peuple et expliquez la Héritage.Veuillez sortir en anglais.

2018–2019 Gaza border protests
Aed Abu Amro
Ay mamá
BBC
BBC Radio 4
Coldplay
France
France
Frédéric Auguste Bartholdi
Gavroche
George Antheil
Ghost in the Shell: SAC 2045
June Rebellion
Kathleen Ni Houlihan
Les Misérables
Louvre
Marianne
Melvyn Bragg
Louvre
Netflix
New York City
Phrygian cap
Rigoberta Bandini
Robert Ballagh
Song Joong-ki
Statue of Liberty


section

La Liberté guidant le peuple

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  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  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  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  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.

Prompt: Expliquer la Héritage de cette œuvre d'art, La Liberté guidant le peuple.Veuillez sortir en anglais.

2018–2019 Gaza border protests
Aed Abu Amro
Ay mamá
BBC
BBC Radio 4
Coldplay
France
France
Frédéric Auguste Bartholdi
Gavroche
George Antheil
Ghost in the Shell: SAC 2045
June Rebellion
Kathleen Ni Houlihan
Les Misérables
Louvre
Marianne
Melvyn Bragg
Louvre
Netflix
New York City
Phrygian cap
Rigoberta Bandini
Robert Ballagh
Song Joong-ki
Statue of Liberty


section

La Liberté guidant le peuple

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  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  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  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  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.

Prompt: Comment La Liberté guidant le peuple explique-t-il sa Héritage?Veuillez sortir en anglais.

2018–2019 Gaza border protests
Aed Abu Amro
Ay mamá
BBC
BBC Radio 4
Coldplay
France
France
Frédéric Auguste Bartholdi
Gavroche
George Antheil
Ghost in the Shell: SAC 2045
June Rebellion
Kathleen Ni Houlihan
Les Misérables
Louvre
Marianne
Melvyn Bragg
Louvre
Netflix
New York City
Phrygian cap
Rigoberta Bandini
Robert Ballagh
Song Joong-ki
Statue of Liberty


section

La Liberté guidant le peuple

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  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  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  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  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.

Prompt: Dans La Liberté guidant le peuple, comment est discutée la Héritage?Veuillez sortir en anglais.

2018–2019 Gaza border protests
Aed Abu Amro
Ay mamá
BBC
BBC Radio 4
Coldplay
France
France
Frédéric Auguste Bartholdi
Gavroche
George Antheil
Ghost in the Shell: SAC 2045
June Rebellion
Kathleen Ni Houlihan
Les Misérables
Louvre
Marianne
Melvyn Bragg
Louvre
Netflix
New York City
Phrygian cap
Rigoberta Bandini
Robert Ballagh
Song Joong-ki
Statue of Liberty


section

La Liberté guidant le peuple

Liberty Leading the People is considered a republican and anti-monarchist symbol, and as such was sometimes criticized by royalists and monarchists.

Prompt: Concentrez-vous sur La Liberté guidant le peuple et expliquez la Critique.Veuillez sortir en anglais.


section

La Liberté guidant le peuple

Liberty Leading the People is considered a republican and anti-monarchist symbol, and as such was sometimes criticized by royalists and monarchists.

Prompt: Expliquer la Critique de cette œuvre d'art, La Liberté guidant le peuple.Veuillez sortir en anglais.


section

La Liberté guidant le peuple

Liberty Leading the People is considered a republican and anti-monarchist symbol, and as such was sometimes criticized by royalists and monarchists.

Prompt: Comment La Liberté guidant le peuple explique-t-il sa Critique?Veuillez sortir en anglais.


section

La Liberté guidant le peuple

Liberty Leading the People is considered a republican and anti-monarchist symbol, and as such was sometimes criticized by royalists and monarchists.

Prompt: Dans La Liberté guidant le peuple, comment est discutée la Critique?Veuillez sortir en anglais.


section

La Liberté guidant le peuple

Liberté, égalité, fraternité Liberty  Marianne

Prompt: Concentrez-vous sur La Liberté guidant le peuple et expliquez la Voir aussi.Veuillez sortir en anglais.


section

La Liberté guidant le peuple

Liberté, égalité, fraternité Liberty  Marianne

Prompt: Expliquer la Voir aussi de cette œuvre d'art, La Liberté guidant le peuple.Veuillez sortir en anglais.


section

La Liberté guidant le peuple

Liberté, égalité, fraternité Liberty  Marianne

Prompt: Comment La Liberté guidant le peuple explique-t-il sa Voir aussi?Veuillez sortir en anglais.


section

La Liberté guidant le peuple

Liberté, égalité, fraternité Liberty  Marianne

Prompt: Dans La Liberté guidant le peuple, comment est discutée la Voir aussi?Veuillez sortir en anglais.


section

La Liberté guidant le peuple

Pastore, Stephen R.  Zola and Delacroix: Genius Amidst the Turmoil. London: Oxford University Press.

Prompt: Concentrez-vous sur La Liberté guidant le peuple et expliquez la Bibliographie.Veuillez sortir en anglais.


section

La Liberté guidant le peuple

Pastore, Stephen R.  Zola and Delacroix: Genius Amidst the Turmoil. London: Oxford University Press.

Prompt: Expliquer la Bibliographie de cette œuvre d'art, La Liberté guidant le peuple.Veuillez sortir en anglais.


section

La Liberté guidant le peuple

Pastore, Stephen R.  Zola and Delacroix: Genius Amidst the Turmoil. London: Oxford University Press.

Prompt: Comment La Liberté guidant le peuple explique-t-il sa Bibliographie?Veuillez sortir en anglais.


section

La Liberté guidant le peuple

Pastore, Stephen R.  Zola and Delacroix: Genius Amidst the Turmoil. London: Oxford University Press.

Prompt: Dans La Liberté guidant le peuple, comment est discutée la Bibliographie?Veuillez sortir en anglais.


section

Groupe du Laocoon

}}The statue of ocoön and His Sons, also called the ocoön Group , has been one of the most famous ancient sculptures since it was excavated in Rome in 1506 and put on public display in the Vatican Museums, where it remains today. The statue is very likely the same one that was praised in the highest terms by Pliny the Elder, the main Roman writer on art, who attributed it to Greek sculptors but did not say when it was created. The figures in the statue are nearly life-sized, with the entire group measuring just over  in height. The sculpture depicts the Trojan priest ocoön and his sons Antiphantes and Thymbraeus being attacked by sea serpents. Unlike the agony often portrayed in Christian art depicting the Passion of Jesus and martyrs, the suffering shown in this statue offers no redemptive power or reward. The agony is conveyed through the contorted expressions on the faces, particularly ocoön's bulging eyebrows, which were noted by Guillaume Duchenne de Boulogne as physiologically impossible. These expressions are mirrored in the struggling bodies, especially ocoön's, with every part of his body shown straining.Pliny attributed the work, then in the palace of Emperor Titus, to three Greek sculptors from the island of Rhodes: Agesander, Athenodoros, and Polydorus, but he did not mention the date or patron. In style it is considered "one of the finest examples of the Hellenistic baroque" and certainly in the Greek tradition. However, its origin is uncertain, as it is not known if it is an original work or a copy of an earlier bronze sculpture. Some believe it to be a copy of a work from the early Imperial period, while others think it to be an original work from the later period, continuing the Pergamene style of some two centuries earlier. Regardless, it was probably commissioned for a wealthy Roman's home, possibly from the Imperial family. The dates suggested for the statue range from 200 BC to the 70s AD, with a Julio-Claudian date  now being the preferred option.Despite being in mostly excellent condition for an excavated sculpture, the group is missing several parts and underwent several ancient modifications, as well as restorations since its excavation. The statue is currently on display in the Museo Pio-Clementino, which is part of the Vatican Museums.

Prompt: Concentrez-vous sur Groupe du Laocoon et expliquez la Abstrait.Veuillez sortir en anglais.

Christian art
Passion of Jesus
Pliny the Elder


section

Groupe du Laocoon

}}The statue of ocoön and His Sons, also called the ocoön Group , has been one of the most famous ancient sculptures since it was excavated in Rome in 1506 and put on public display in the Vatican Museums, where it remains today. The statue is very likely the same one that was praised in the highest terms by Pliny the Elder, the main Roman writer on art, who attributed it to Greek sculptors but did not say when it was created. The figures in the statue are nearly life-sized, with the entire group measuring just over  in height. The sculpture depicts the Trojan priest ocoön and his sons Antiphantes and Thymbraeus being attacked by sea serpents. Unlike the agony often portrayed in Christian art depicting the Passion of Jesus and martyrs, the suffering shown in this statue offers no redemptive power or reward. The agony is conveyed through the contorted expressions on the faces, particularly ocoön's bulging eyebrows, which were noted by Guillaume Duchenne de Boulogne as physiologically impossible. These expressions are mirrored in the struggling bodies, especially ocoön's, with every part of his body shown straining.Pliny attributed the work, then in the palace of Emperor Titus, to three Greek sculptors from the island of Rhodes: Agesander, Athenodoros, and Polydorus, but he did not mention the date or patron. In style it is considered "one of the finest examples of the Hellenistic baroque" and certainly in the Greek tradition. However, its origin is uncertain, as it is not known if it is an original work or a copy of an earlier bronze sculpture. Some believe it to be a copy of a work from the early Imperial period, while others think it to be an original work from the later period, continuing the Pergamene style of some two centuries earlier. Regardless, it was probably commissioned for a wealthy Roman's home, possibly from the Imperial family. The dates suggested for the statue range from 200 BC to the 70s AD, with a Julio-Claudian date  now being the preferred option.Despite being in mostly excellent condition for an excavated sculpture, the group is missing several parts and underwent several ancient modifications, as well as restorations since its excavation. The statue is currently on display in the Museo Pio-Clementino, which is part of the Vatican Museums.

Prompt: Expliquer la Abstrait de cette œuvre d'art, Groupe du Laocoon.Veuillez sortir en anglais.

Christian art
Passion of Jesus
Pliny the Elder


section

Groupe du Laocoon

}}The statue of ocoön and His Sons, also called the ocoön Group , has been one of the most famous ancient sculptures since it was excavated in Rome in 1506 and put on public display in the Vatican Museums, where it remains today. The statue is very likely the same one that was praised in the highest terms by Pliny the Elder, the main Roman writer on art, who attributed it to Greek sculptors but did not say when it was created. The figures in the statue are nearly life-sized, with the entire group measuring just over  in height. The sculpture depicts the Trojan priest ocoön and his sons Antiphantes and Thymbraeus being attacked by sea serpents. Unlike the agony often portrayed in Christian art depicting the Passion of Jesus and martyrs, the suffering shown in this statue offers no redemptive power or reward. The agony is conveyed through the contorted expressions on the faces, particularly ocoön's bulging eyebrows, which were noted by Guillaume Duchenne de Boulogne as physiologically impossible. These expressions are mirrored in the struggling bodies, especially ocoön's, with every part of his body shown straining.Pliny attributed the work, then in the palace of Emperor Titus, to three Greek sculptors from the island of Rhodes: Agesander, Athenodoros, and Polydorus, but he did not mention the date or patron. In style it is considered "one of the finest examples of the Hellenistic baroque" and certainly in the Greek tradition. However, its origin is uncertain, as it is not known if it is an original work or a copy of an earlier bronze sculpture. Some believe it to be a copy of a work from the early Imperial period, while others think it to be an original work from the later period, continuing the Pergamene style of some two centuries earlier. Regardless, it was probably commissioned for a wealthy Roman's home, possibly from the Imperial family. The dates suggested for the statue range from 200 BC to the 70s AD, with a Julio-Claudian date  now being the preferred option.Despite being in mostly excellent condition for an excavated sculpture, the group is missing several parts and underwent several ancient modifications, as well as restorations since its excavation. The statue is currently on display in the Museo Pio-Clementino, which is part of the Vatican Museums.

Prompt: Comment Groupe du Laocoon explique-t-il sa Abstrait?Veuillez sortir en anglais.

Christian art
Passion of Jesus
Pliny the Elder


section

Groupe du Laocoon

}}The statue of ocoön and His Sons, also called the ocoön Group , has been one of the most famous ancient sculptures since it was excavated in Rome in 1506 and put on public display in the Vatican Museums, where it remains today. The statue is very likely the same one that was praised in the highest terms by Pliny the Elder, the main Roman writer on art, who attributed it to Greek sculptors but did not say when it was created. The figures in the statue are nearly life-sized, with the entire group measuring just over  in height. The sculpture depicts the Trojan priest ocoön and his sons Antiphantes and Thymbraeus being attacked by sea serpents. Unlike the agony often portrayed in Christian art depicting the Passion of Jesus and martyrs, the suffering shown in this statue offers no redemptive power or reward. The agony is conveyed through the contorted expressions on the faces, particularly ocoön's bulging eyebrows, which were noted by Guillaume Duchenne de Boulogne as physiologically impossible. These expressions are mirrored in the struggling bodies, especially ocoön's, with every part of his body shown straining.Pliny attributed the work, then in the palace of Emperor Titus, to three Greek sculptors from the island of Rhodes: Agesander, Athenodoros, and Polydorus, but he did not mention the date or patron. In style it is considered "one of the finest examples of the Hellenistic baroque" and certainly in the Greek tradition. However, its origin is uncertain, as it is not known if it is an original work or a copy of an earlier bronze sculpture. Some believe it to be a copy of a work from the early Imperial period, while others think it to be an original work from the later period, continuing the Pergamene style of some two centuries earlier. Regardless, it was probably commissioned for a wealthy Roman's home, possibly from the Imperial family. The dates suggested for the statue range from 200 BC to the 70s AD, with a Julio-Claudian date  now being the preferred option.Despite being in mostly excellent condition for an excavated sculpture, the group is missing several parts and underwent several ancient modifications, as well as restorations since its excavation. The statue is currently on display in the Museo Pio-Clementino, which is part of the Vatican Museums.

Prompt: Dans Groupe du Laocoon, comment est discutée la Abstrait?Veuillez sortir en anglais.

Christian art
Passion of Jesus
Pliny the Elder


section

Groupe du Laocoon

The story of ocoön, a Trojan priest, came from the Greek Epic Cycle on the Trojan Wars, though it is not mentioned by Homer. It had been the subject of a tragedy, now lost, by Sophocles and was mentioned by other Greek writers, though the events around the attack by the serpents vary considerably. The most famous account of these is now in Virgil's Aeneid , but this dates from between 29 and 19 BC, which is possibly later than the sculpture. However, some scholars see the group as a depiction of the scene as described by Virgil.In Virgil, ocoön was a priest of Poseidon who was killed with both his sons after attempting to expose the ruse of the Trojan Horse by striking it with a spear. In Sophocles, on the other hand, he was a priest of Apollo, who should have been celibate but had married. The serpents killed only the two sons, leaving ocoön himself alive to suffer.  In other versions he was killed for having had sex with his wife in the temple of Poseidon, or simply making a sacrifice in the temple with his wife present. In this second group of versions, the snakes were sent by Poseidon and in the first by Poseidon and Athena, or Apollo, and the deaths were interpreted by the Trojans as proof that the horse was a sacred object. The two versions have rather different morals: ocoön was either punished for doing wrong, or for being right. Pietro Aretino thought so, praising the group in 1537:In at least one Greek telling of the story the older son is able to escape, and the composition seems to allow for that possibility.

Prompt: Concentrez-vous sur Groupe du Laocoon et expliquez la sujet.Veuillez sortir en anglais.

Aeneid
Apollo
Epic Cycle
Homer
Pietro Aretino


section

Groupe du Laocoon

The story of ocoön, a Trojan priest, came from the Greek Epic Cycle on the Trojan Wars, though it is not mentioned by Homer. It had been the subject of a tragedy, now lost, by Sophocles and was mentioned by other Greek writers, though the events around the attack by the serpents vary considerably. The most famous account of these is now in Virgil's Aeneid , but this dates from between 29 and 19 BC, which is possibly later than the sculpture. However, some scholars see the group as a depiction of the scene as described by Virgil.In Virgil, ocoön was a priest of Poseidon who was killed with both his sons after attempting to expose the ruse of the Trojan Horse by striking it with a spear. In Sophocles, on the other hand, he was a priest of Apollo, who should have been celibate but had married. The serpents killed only the two sons, leaving ocoön himself alive to suffer.  In other versions he was killed for having had sex with his wife in the temple of Poseidon, or simply making a sacrifice in the temple with his wife present. In this second group of versions, the snakes were sent by Poseidon and in the first by Poseidon and Athena, or Apollo, and the deaths were interpreted by the Trojans as proof that the horse was a sacred object. The two versions have rather different morals: ocoön was either punished for doing wrong, or for being right. Pietro Aretino thought so, praising the group in 1537:In at least one Greek telling of the story the older son is able to escape, and the composition seems to allow for that possibility.

Prompt: Expliquer la sujet de cette œuvre d'art, Groupe du Laocoon.Veuillez sortir en anglais.

Aeneid
Apollo
Epic Cycle
Homer
Pietro Aretino


section

Groupe du Laocoon

The story of ocoön, a Trojan priest, came from the Greek Epic Cycle on the Trojan Wars, though it is not mentioned by Homer. It had been the subject of a tragedy, now lost, by Sophocles and was mentioned by other Greek writers, though the events around the attack by the serpents vary considerably. The most famous account of these is now in Virgil's Aeneid , but this dates from between 29 and 19 BC, which is possibly later than the sculpture. However, some scholars see the group as a depiction of the scene as described by Virgil.In Virgil, ocoön was a priest of Poseidon who was killed with both his sons after attempting to expose the ruse of the Trojan Horse by striking it with a spear. In Sophocles, on the other hand, he was a priest of Apollo, who should have been celibate but had married. The serpents killed only the two sons, leaving ocoön himself alive to suffer.  In other versions he was killed for having had sex with his wife in the temple of Poseidon, or simply making a sacrifice in the temple with his wife present. In this second group of versions, the snakes were sent by Poseidon and in the first by Poseidon and Athena, or Apollo, and the deaths were interpreted by the Trojans as proof that the horse was a sacred object. The two versions have rather different morals: ocoön was either punished for doing wrong, or for being right. Pietro Aretino thought so, praising the group in 1537:In at least one Greek telling of the story the older son is able to escape, and the composition seems to allow for that possibility.

Prompt: Comment Groupe du Laocoon explique-t-il sa sujet?Veuillez sortir en anglais.

Aeneid
Apollo
Epic Cycle
Homer
Pietro Aretino


section

Groupe du Laocoon

The story of ocoön, a Trojan priest, came from the Greek Epic Cycle on the Trojan Wars, though it is not mentioned by Homer. It had been the subject of a tragedy, now lost, by Sophocles and was mentioned by other Greek writers, though the events around the attack by the serpents vary considerably. The most famous account of these is now in Virgil's Aeneid , but this dates from between 29 and 19 BC, which is possibly later than the sculpture. However, some scholars see the group as a depiction of the scene as described by Virgil.In Virgil, ocoön was a priest of Poseidon who was killed with both his sons after attempting to expose the ruse of the Trojan Horse by striking it with a spear. In Sophocles, on the other hand, he was a priest of Apollo, who should have been celibate but had married. The serpents killed only the two sons, leaving ocoön himself alive to suffer.  In other versions he was killed for having had sex with his wife in the temple of Poseidon, or simply making a sacrifice in the temple with his wife present. In this second group of versions, the snakes were sent by Poseidon and in the first by Poseidon and Athena, or Apollo, and the deaths were interpreted by the Trojans as proof that the horse was a sacred object. The two versions have rather different morals: ocoön was either punished for doing wrong, or for being right. Pietro Aretino thought so, praising the group in 1537:In at least one Greek telling of the story the older son is able to escape, and the composition seems to allow for that possibility.

Prompt: Dans Groupe du Laocoon, comment est discutée la sujet?Veuillez sortir en anglais.

Aeneid
Apollo
Epic Cycle
Homer
Pietro Aretino


section

Groupe du Laocoon

The discovery of the ocoön 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 ocoön, 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 ocoön 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 ocoön 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.

Prompt: Concentrez-vous sur Groupe du Laocoon et expliquez la Influence.Veuillez sortir en anglais.

Baccio Bandinelli
Baroque
Belvedere Torso
Dying Slave
Florence
Homer
Louvre
Michelangelo
Louvre
Napoleon
Pope Julius II
Pope Leo X


section

Groupe du Laocoon

The discovery of the ocoön 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 ocoön, 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 ocoön 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 ocoön 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.

Prompt: Expliquer la Influence de cette œuvre d'art, Groupe du Laocoon.Veuillez sortir en anglais.

Baccio Bandinelli
Baroque
Belvedere Torso
Dying Slave
Florence
Homer
Louvre
Michelangelo
Louvre
Napoleon
Pope Julius II
Pope Leo X


section

Groupe du Laocoon

The discovery of the ocoön 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 ocoön, 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 ocoön 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 ocoön 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.

Prompt: Comment Groupe du Laocoon explique-t-il sa Influence?Veuillez sortir en anglais.

Baccio Bandinelli
Baroque
Belvedere Torso
Dying Slave
Florence
Homer
Louvre
Michelangelo
Louvre
Napoleon
Pope Julius II
Pope Leo X


section

Groupe du Laocoon

The discovery of the ocoön 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 ocoön, 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 ocoön 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 ocoön 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.

Prompt: Dans Groupe du Laocoon, comment est discutée la Influence?Veuillez sortir en anglais.

Baccio Bandinelli
Baroque
Belvedere Torso
Dying Slave
Florence
Homer
Louvre
Michelangelo
Louvre
Napoleon
Pope Julius II
Pope Leo X


section

Groupe du Laocoon

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 , 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"  or it being "near the site of the Domus Aurea" ; 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 , 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,  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. but the location of Titus's residence remains unknown; the imperial estate of the Gardens of Maecenas may be a plausible candidate.  If the ocoön 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.

Prompt: Concentrez-vous sur Groupe du Laocoon et expliquez la Lieu de découverte.Veuillez sortir en anglais.

Colosseum
Domus Aurea
Gardens of Maecenas
Oppian Hill


section

Groupe du Laocoon

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 , 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"  or it being "near the site of the Domus Aurea" ; 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 , 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,  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. but the location of Titus's residence remains unknown; the imperial estate of the Gardens of Maecenas may be a plausible candidate.  If the ocoön 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.

Prompt: Expliquer la Lieu de découverte de cette œuvre d'art, Groupe du Laocoon.Veuillez sortir en anglais.

Colosseum
Domus Aurea
Gardens of Maecenas
Oppian Hill


section

Groupe du Laocoon

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 , 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"  or it being "near the site of the Domus Aurea" ; 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 , 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,  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. but the location of Titus's residence remains unknown; the imperial estate of the Gardens of Maecenas may be a plausible candidate.  If the ocoön 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.

Prompt: Comment Groupe du Laocoon explique-t-il sa Lieu de découverte?Veuillez sortir en anglais.

Colosseum
Domus Aurea
Gardens of Maecenas
Oppian Hill


section

Groupe du Laocoon

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 , 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"  or it being "near the site of the Domus Aurea" ; 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 , 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,  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. but the location of Titus's residence remains unknown; the imperial estate of the Gardens of Maecenas may be a plausible candidate.  If the ocoön 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.

Prompt: Dans Groupe du Laocoon, comment est discutée la Lieu de découverte?Veuillez sortir en anglais.

Colosseum
Domus Aurea
Gardens of Maecenas
Oppian Hill


section

Groupe du Laocoon

Andreae, Bernard, okoon und die Gründung Roms, 1988, Philipp von Zabern,  Andreae, Bernard, okoon und die Kunst von Pergamon. Die Hybris der Giganten, 1991, Frankfurt am Main,  Barkan, Leonard, Unearthing the Past: Archaeology and Aesthetics in the Making of Renaissance Culture, 1999, Yale University Press,  Beard, Mary, Times Literary Supplement, "Arms and the Man: The restoration and reinvention of classical sculpture", 2 February 2001,  Boardman, John , The Oxford History of Classical Art, 1993, Oxford University Press,  "Chronology": Frischer, Bernard, Digital Sculpture Project: ocoon,  Clark, Kenneth, The Nude, A Study in Ideal Form, orig. 1949, various editions, page refs from Pelican edition of 1960. Cook, R.M., Greek Art, Penguin, 1986 ,  Farinella, Vincenzo, Vatican Museums, Classical Art, 1985, Scala Haskell, Francis, and Penny, Nicholas, 1981. Taste and the Antique: The Lure of Classical Sculpture 1500–1900 , cat. no. 52, pp. 243–47 Herrmann, Ariel, review of Sperlonga und Vergil by Roland Hampe, The Art Bulletin, Vol. 56, No. 2, Medieval Issue , pp. 275–277,  Howard, Seymour, "ocoon Rerestored", American Journal of Archaeology, Vol. 93, No. 3 , pp. 417–422,  Isager, Jacob, Pliny on Art and Society: The Elder Pliny's Chapters On The History Of Art, 2013, Routledge, ,  Muth, Susanne, "okoon", in: Giuliani, Luca , Meisterwerke der antiken Kunst, 2005, C. H. Beck, , pp. 72–93. Rice, E. E., "Prosopographika Rhodiaka", The Annual of the British School at Athens, Vol. 81, , pp. 209–250,  Schmälzle, Christoph, okoon in der Frühen Neuzeit, 2 vols., Stroemfeld, 2018,  Spivey, Nigel ,  Smith, R.R.R., Hellenistic Sculpture, a handbook, Thames & Hudson, 1991,  Stewart, A., "To Entertain an Emperor: Sperlonga, okoon and Tiberius at the Dinner-Table", The Journal of Roman Studies, Vol. 67, , pp. 76–90,  "Volpe and Parisi": Digital Sculpture Project: ocoon.  Warden, P. Gregory, "The Domus Aurea Reconsidered", Journal of the Society of Architectural Historians, Vol. 40, No. 4 , pp. 271–278, ,

Prompt: Concentrez-vous sur Groupe du Laocoon et expliquez la Références.Veuillez sortir en anglais.

Domus Aurea
Oxford University Press
Pergamon


section

Groupe du Laocoon

Andreae, Bernard, okoon und die Gründung Roms, 1988, Philipp von Zabern,  Andreae, Bernard, okoon und die Kunst von Pergamon. Die Hybris der Giganten, 1991, Frankfurt am Main,  Barkan, Leonard, Unearthing the Past: Archaeology and Aesthetics in the Making of Renaissance Culture, 1999, Yale University Press,  Beard, Mary, Times Literary Supplement, "Arms and the Man: The restoration and reinvention of classical sculpture", 2 February 2001,  Boardman, John , The Oxford History of Classical Art, 1993, Oxford University Press,  "Chronology": Frischer, Bernard, Digital Sculpture Project: ocoon,  Clark, Kenneth, The Nude, A Study in Ideal Form, orig. 1949, various editions, page refs from Pelican edition of 1960. Cook, R.M., Greek Art, Penguin, 1986 ,  Farinella, Vincenzo, Vatican Museums, Classical Art, 1985, Scala Haskell, Francis, and Penny, Nicholas, 1981. Taste and the Antique: The Lure of Classical Sculpture 1500–1900 , cat. no. 52, pp. 243–47 Herrmann, Ariel, review of Sperlonga und Vergil by Roland Hampe, The Art Bulletin, Vol. 56, No. 2, Medieval Issue , pp. 275–277,  Howard, Seymour, "ocoon Rerestored", American Journal of Archaeology, Vol. 93, No. 3 , pp. 417–422,  Isager, Jacob, Pliny on Art and Society: The Elder Pliny's Chapters On The History Of Art, 2013, Routledge, ,  Muth, Susanne, "okoon", in: Giuliani, Luca , Meisterwerke der antiken Kunst, 2005, C. H. Beck, , pp. 72–93. Rice, E. E., "Prosopographika Rhodiaka", The Annual of the British School at Athens, Vol. 81, , pp. 209–250,  Schmälzle, Christoph, okoon in der Frühen Neuzeit, 2 vols., Stroemfeld, 2018,  Spivey, Nigel ,  Smith, R.R.R., Hellenistic Sculpture, a handbook, Thames & Hudson, 1991,  Stewart, A., "To Entertain an Emperor: Sperlonga, okoon and Tiberius at the Dinner-Table", The Journal of Roman Studies, Vol. 67, , pp. 76–90,  "Volpe and Parisi": Digital Sculpture Project: ocoon.  Warden, P. Gregory, "The Domus Aurea Reconsidered", Journal of the Society of Architectural Historians, Vol. 40, No. 4 , pp. 271–278, ,

Prompt: Expliquer la Références de cette œuvre d'art, Groupe du Laocoon.Veuillez sortir en anglais.

Domus Aurea
Oxford University Press
Pergamon


section

Groupe du Laocoon

Andreae, Bernard, okoon und die Gründung Roms, 1988, Philipp von Zabern,  Andreae, Bernard, okoon und die Kunst von Pergamon. Die Hybris der Giganten, 1991, Frankfurt am Main,  Barkan, Leonard, Unearthing the Past: Archaeology and Aesthetics in the Making of Renaissance Culture, 1999, Yale University Press,  Beard, Mary, Times Literary Supplement, "Arms and the Man: The restoration and reinvention of classical sculpture", 2 February 2001,  Boardman, John , The Oxford History of Classical Art, 1993, Oxford University Press,  "Chronology": Frischer, Bernard, Digital Sculpture Project: ocoon,  Clark, Kenneth, The Nude, A Study in Ideal Form, orig. 1949, various editions, page refs from Pelican edition of 1960. Cook, R.M., Greek Art, Penguin, 1986 ,  Farinella, Vincenzo, Vatican Museums, Classical Art, 1985, Scala Haskell, Francis, and Penny, Nicholas, 1981. Taste and the Antique: The Lure of Classical Sculpture 1500–1900 , cat. no. 52, pp. 243–47 Herrmann, Ariel, review of Sperlonga und Vergil by Roland Hampe, The Art Bulletin, Vol. 56, No. 2, Medieval Issue , pp. 275–277,  Howard, Seymour, "ocoon Rerestored", American Journal of Archaeology, Vol. 93, No. 3 , pp. 417–422,  Isager, Jacob, Pliny on Art and Society: The Elder Pliny's Chapters On The History Of Art, 2013, Routledge, ,  Muth, Susanne, "okoon", in: Giuliani, Luca , Meisterwerke der antiken Kunst, 2005, C. H. Beck, , pp. 72–93. Rice, E. E., "Prosopographika Rhodiaka", The Annual of the British School at Athens, Vol. 81, , pp. 209–250,  Schmälzle, Christoph, okoon in der Frühen Neuzeit, 2 vols., Stroemfeld, 2018,  Spivey, Nigel ,  Smith, R.R.R., Hellenistic Sculpture, a handbook, Thames & Hudson, 1991,  Stewart, A., "To Entertain an Emperor: Sperlonga, okoon and Tiberius at the Dinner-Table", The Journal of Roman Studies, Vol. 67, , pp. 76–90,  "Volpe and Parisi": Digital Sculpture Project: ocoon.  Warden, P. Gregory, "The Domus Aurea Reconsidered", Journal of the Society of Architectural Historians, Vol. 40, No. 4 , pp. 271–278, ,

Prompt: Comment Groupe du Laocoon explique-t-il sa Références?Veuillez sortir en anglais.

Domus Aurea
Oxford University Press
Pergamon


section

Groupe du Laocoon

Andreae, Bernard, okoon und die Gründung Roms, 1988, Philipp von Zabern,  Andreae, Bernard, okoon und die Kunst von Pergamon. Die Hybris der Giganten, 1991, Frankfurt am Main,  Barkan, Leonard, Unearthing the Past: Archaeology and Aesthetics in the Making of Renaissance Culture, 1999, Yale University Press,  Beard, Mary, Times Literary Supplement, "Arms and the Man: The restoration and reinvention of classical sculpture", 2 February 2001,  Boardman, John , The Oxford History of Classical Art, 1993, Oxford University Press,  "Chronology": Frischer, Bernard, Digital Sculpture Project: ocoon,  Clark, Kenneth, The Nude, A Study in Ideal Form, orig. 1949, various editions, page refs from Pelican edition of 1960. Cook, R.M., Greek Art, Penguin, 1986 ,  Farinella, Vincenzo, Vatican Museums, Classical Art, 1985, Scala Haskell, Francis, and Penny, Nicholas, 1981. Taste and the Antique: The Lure of Classical Sculpture 1500–1900 , cat. no. 52, pp. 243–47 Herrmann, Ariel, review of Sperlonga und Vergil by Roland Hampe, The Art Bulletin, Vol. 56, No. 2, Medieval Issue , pp. 275–277,  Howard, Seymour, "ocoon Rerestored", American Journal of Archaeology, Vol. 93, No. 3 , pp. 417–422,  Isager, Jacob, Pliny on Art and Society: The Elder Pliny's Chapters On The History Of Art, 2013, Routledge, ,  Muth, Susanne, "okoon", in: Giuliani, Luca , Meisterwerke der antiken Kunst, 2005, C. H. Beck, , pp. 72–93. Rice, E. E., "Prosopographika Rhodiaka", The Annual of the British School at Athens, Vol. 81, , pp. 209–250,  Schmälzle, Christoph, okoon in der Frühen Neuzeit, 2 vols., Stroemfeld, 2018,  Spivey, Nigel ,  Smith, R.R.R., Hellenistic Sculpture, a handbook, Thames & Hudson, 1991,  Stewart, A., "To Entertain an Emperor: Sperlonga, okoon and Tiberius at the Dinner-Table", The Journal of Roman Studies, Vol. 67, , pp. 76–90,  "Volpe and Parisi": Digital Sculpture Project: ocoon.  Warden, P. Gregory, "The Domus Aurea Reconsidered", Journal of the Society of Architectural Historians, Vol. 40, No. 4 , pp. 271–278, ,

Prompt: Dans Groupe du Laocoon, comment est discutée la Références?Veuillez sortir en anglais.

Domus Aurea
Oxford University Press
Pergamon


subsection

Groupe du Laocoon

The style of the work is agreed to be that of the Hellenistic "Pergamene baroque" which arose in Greek Asia Minor around 200 BC, and whose best known undoubtedly original work is the Pergamon Altar, dated –160 BC, and now in Berlin.  Here the figure of Alcyoneus is shown in a pose and situation  which is very similar to those of ocoön, though the style is "looser and wilder in its principles" than the altar.The execution of the ocoön is extremely fine throughout, and the composition very carefully calculated, even though it appears that the group underwent adjustments in ancient times.  The two sons are rather small in scale compared to their father, but this adds to the impact of the central figure.  The fine white marble used is often thought to be Greek, but has not been identified by analysis.

Prompt: Dans le contexte de Groupe du Laocoon, expliquez la Temps anciens et la sujet.Veuillez sortir en anglais.


subsection

Groupe du Laocoon

The style of the work is agreed to be that of the Hellenistic "Pergamene baroque" which arose in Greek Asia Minor around 200 BC, and whose best known undoubtedly original work is the Pergamon Altar, dated –160 BC, and now in Berlin.  Here the figure of Alcyoneus is shown in a pose and situation  which is very similar to those of ocoön, though the style is "looser and wilder in its principles" than the altar.The execution of the ocoön is extremely fine throughout, and the composition very carefully calculated, even though it appears that the group underwent adjustments in ancient times.  The two sons are rather small in scale compared to their father, but this adds to the impact of the central figure.  The fine white marble used is often thought to be Greek, but has not been identified by analysis.

Prompt: Expliquer la Temps anciens concernant la sujet de cette œuvre d'art, Groupe du Laocoon.Veuillez sortir en anglais.


subsection

Groupe du Laocoon

The style of the work is agreed to be that of the Hellenistic "Pergamene baroque" which arose in Greek Asia Minor around 200 BC, and whose best known undoubtedly original work is the Pergamon Altar, dated –160 BC, and now in Berlin.  Here the figure of Alcyoneus is shown in a pose and situation  which is very similar to those of ocoön, though the style is "looser and wilder in its principles" than the altar.The execution of the ocoön is extremely fine throughout, and the composition very carefully calculated, even though it appears that the group underwent adjustments in ancient times.  The two sons are rather small in scale compared to their father, but this adds to the impact of the central figure.  The fine white marble used is often thought to be Greek, but has not been identified by analysis.

Prompt: Dans Groupe du Laocoon, comment la Temps anciens de la sujet est-elle expliquée?Veuillez sortir en anglais.


subsection

Groupe du Laocoon

The style of the work is agreed to be that of the Hellenistic "Pergamene baroque" which arose in Greek Asia Minor around 200 BC, and whose best known undoubtedly original work is the Pergamon Altar, dated –160 BC, and now in Berlin.  Here the figure of Alcyoneus is shown in a pose and situation  which is very similar to those of ocoön, though the style is "looser and wilder in its principles" than the altar.The execution of the ocoön is extremely fine throughout, and the composition very carefully calculated, even though it appears that the group underwent adjustments in ancient times.  The two sons are rather small in scale compared to their father, but this adds to the impact of the central figure.  The fine white marble used is often thought to be Greek, but has not been identified by analysis.

Prompt: Décrivez les caractéristiques de la Temps anciens dans la sujet de Groupe du Laocoon.Veuillez sortir en anglais.


subsection

Groupe du Laocoon

The group was unearthed in February 1506 in the vineyard of Felice De Fredis; informed of the fact, Pope Julius II, an enthusiastic classicist, sent for his court artists.  Michelangelo was called to the site of the unearthing of the statue immediately after its discovery, along with the Florentine architect Giuliano da Sangallo and his eleven-year-old son Francesco da Sangallo, later a sculptor, who wrote an account over sixty years later:Julius acquired the group on March 23, giving De Fredis a job as a scribe as well as the customs revenues from one of the gates of Rome.  By August the group was placed for public viewing in a niche in the wall of the brand new Belvedere Garden at the Vatican, now part of the Vatican Museums, which regard this as the start of their history. As yet it had no base, which was not added until 1511, and from various prints and drawings from the time the older son appears to have been completely detached from the rest of the group.In July 1798 the statue was taken to France in the wake of the French conquest of Italy, though the replacement parts were left in Rome. It was on display when the new Musée Central des Arts, later the Musée Napoléon, opened at the Louvre in November 1800.  A competition was announced for new parts to complete the composition, but there were no entries. Some plaster sections by François Girardon, over 150 years old, were used instead.  After Napoleon's final defeat at the Battle of Waterloo in 1815 most  of the artworks plundered by the French were returned, and the ocoön reached Rome in January 1816.

Prompt: Dans le contexte de Groupe du Laocoon, expliquez la Renaissance et la sujet.Veuillez sortir en anglais.

Battle of Waterloo
Francesco da Sangallo
François Girardon
Giuliano da Sangallo
Louvre
Michelangelo
Louvre
Napoleon
Pope Julius II


subsection

Groupe du Laocoon

The group was unearthed in February 1506 in the vineyard of Felice De Fredis; informed of the fact, Pope Julius II, an enthusiastic classicist, sent for his court artists.  Michelangelo was called to the site of the unearthing of the statue immediately after its discovery, along with the Florentine architect Giuliano da Sangallo and his eleven-year-old son Francesco da Sangallo, later a sculptor, who wrote an account over sixty years later:Julius acquired the group on March 23, giving De Fredis a job as a scribe as well as the customs revenues from one of the gates of Rome.  By August the group was placed for public viewing in a niche in the wall of the brand new Belvedere Garden at the Vatican, now part of the Vatican Museums, which regard this as the start of their history. As yet it had no base, which was not added until 1511, and from various prints and drawings from the time the older son appears to have been completely detached from the rest of the group.In July 1798 the statue was taken to France in the wake of the French conquest of Italy, though the replacement parts were left in Rome. It was on display when the new Musée Central des Arts, later the Musée Napoléon, opened at the Louvre in November 1800.  A competition was announced for new parts to complete the composition, but there were no entries. Some plaster sections by François Girardon, over 150 years old, were used instead.  After Napoleon's final defeat at the Battle of Waterloo in 1815 most  of the artworks plundered by the French were returned, and the ocoön reached Rome in January 1816.

Prompt: Expliquer la Renaissance concernant la sujet de cette œuvre d'art, Groupe du Laocoon.Veuillez sortir en anglais.

Battle of Waterloo
Francesco da Sangallo
François Girardon
Giuliano da Sangallo
Louvre
Michelangelo
Louvre
Napoleon
Pope Julius II


subsection

Groupe du Laocoon

The group was unearthed in February 1506 in the vineyard of Felice De Fredis; informed of the fact, Pope Julius II, an enthusiastic classicist, sent for his court artists.  Michelangelo was called to the site of the unearthing of the statue immediately after its discovery, along with the Florentine architect Giuliano da Sangallo and his eleven-year-old son Francesco da Sangallo, later a sculptor, who wrote an account over sixty years later:Julius acquired the group on March 23, giving De Fredis a job as a scribe as well as the customs revenues from one of the gates of Rome.  By August the group was placed for public viewing in a niche in the wall of the brand new Belvedere Garden at the Vatican, now part of the Vatican Museums, which regard this as the start of their history. As yet it had no base, which was not added until 1511, and from various prints and drawings from the time the older son appears to have been completely detached from the rest of the group.In July 1798 the statue was taken to France in the wake of the French conquest of Italy, though the replacement parts were left in Rome. It was on display when the new Musée Central des Arts, later the Musée Napoléon, opened at the Louvre in November 1800.  A competition was announced for new parts to complete the composition, but there were no entries. Some plaster sections by François Girardon, over 150 years old, were used instead.  After Napoleon's final defeat at the Battle of Waterloo in 1815 most  of the artworks plundered by the French were returned, and the ocoön reached Rome in January 1816.

Prompt: Dans Groupe du Laocoon, comment la Renaissance de la sujet est-elle expliquée?Veuillez sortir en anglais.

Battle of Waterloo
Francesco da Sangallo
François Girardon
Giuliano da Sangallo
Louvre
Michelangelo
Louvre
Napoleon
Pope Julius II


subsection

Groupe du Laocoon

The group was unearthed in February 1506 in the vineyard of Felice De Fredis; informed of the fact, Pope Julius II, an enthusiastic classicist, sent for his court artists.  Michelangelo was called to the site of the unearthing of the statue immediately after its discovery, along with the Florentine architect Giuliano da Sangallo and his eleven-year-old son Francesco da Sangallo, later a sculptor, who wrote an account over sixty years later:Julius acquired the group on March 23, giving De Fredis a job as a scribe as well as the customs revenues from one of the gates of Rome.  By August the group was placed for public viewing in a niche in the wall of the brand new Belvedere Garden at the Vatican, now part of the Vatican Museums, which regard this as the start of their history. As yet it had no base, which was not added until 1511, and from various prints and drawings from the time the older son appears to have been completely detached from the rest of the group.In July 1798 the statue was taken to France in the wake of the French conquest of Italy, though the replacement parts were left in Rome. It was on display when the new Musée Central des Arts, later the Musée Napoléon, opened at the Louvre in November 1800.  A competition was announced for new parts to complete the composition, but there were no entries. Some plaster sections by François Girardon, over 150 years old, were used instead.  After Napoleon's final defeat at the Battle of Waterloo in 1815 most  of the artworks plundered by the French were returned, and the ocoön reached Rome in January 1816.

Prompt: Décrivez les caractéristiques de la Renaissance dans la sujet de Groupe du Laocoon.Veuillez sortir en anglais.

Battle of Waterloo
Francesco da Sangallo
François Girardon
Giuliano da Sangallo
Louvre
Michelangelo
Louvre
Napoleon
Pope Julius II


subsection

Groupe du Laocoon

When the statue was discovered, ocoön'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 ocoön 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 ocoön'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 ocoön group he presented it to the Vatican Museums: it remained in their storerooms for half a century. In 1957 the museum decided that this armbent, as Michelangelo had suggestedhad originally belonged to this ocoön, 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 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.

Prompt: Dans le contexte de Groupe du Laocoon, expliquez la Restaurations et la sujet.Veuillez sortir en anglais.

Agostino Cornacchini
Antonio Canova
Jacopo Sansovino
Ludwig Pollak
Michelangelo


subsection

Groupe du Laocoon

When the statue was discovered, ocoön'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 ocoön 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 ocoön'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 ocoön group he presented it to the Vatican Museums: it remained in their storerooms for half a century. In 1957 the museum decided that this armbent, as Michelangelo had suggestedhad originally belonged to this ocoön, 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 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.

Prompt: Expliquer la Restaurations concernant la sujet de cette œuvre d'art, Groupe du Laocoon.Veuillez sortir en anglais.

Agostino Cornacchini
Antonio Canova
Jacopo Sansovino
Ludwig Pollak
Michelangelo