Laocoön and His Sons

Prompt: In Laocoön and His Sons, how is the Restorations of the History explained?

When the statue was discovered, Laocoön's right arm was missing, along with part of the hand of one son and the right arm of the other, and various sections of the snake. The older son, on the right, was detached from the other two figures.  The age of the altar used as a seat by Laocoön remains uncertain.  Artists and connoisseurs debated how the missing parts should be interpreted. Michelangelo suggested that the missing right arms were originally bent back over the shoulder. Others, however, believed it was more appropriate to show the right arms extended outwards in a heroic gesture.According to Vasari, in about 1510 Bramante, the Pope's architect, held an informal contest among sculptors to make replacement right arms, which was judged by Raphael, and won by Jacopo Sansovino. The winner, in the outstretched position, was used in copies but not attached to the original group, which remained as it was until 1532, when Giovanni Antonio Montorsoli, a pupil of Michelangelo, added his even more straight version of Laocoön's outstretched arm, which remained in place until modern times.  In 1725–1727 Agostino Cornacchini added a section to the younger son's arm, and after 1816 Antonio Canova tidied up the group after their return from Paris, without being convinced by the correctness of the additions but wishing to avoid a controversy.In 1906 Ludwig Pollak, archaeologist, art dealer and director of the Museo Barracco, discovered a fragment of a marble arm in a builder's yard in Rome, close to where the group was found. Noting a stylistic similarity to the Laocoön group he presented it to the Vatican Museums: it remained in their storerooms for half a century. In 1957 the museum decided that this arm – bent, as Michelangelo had suggested – had originally belonged to this Laocoön, and replaced it. According to Paolo Liverani: "Remarkably, despite the lack of a critical section, the join between the torso and the arm was guaranteed by a drill hole on one piece which aligned perfectly with a corresponding hole on the other."In the 1980s the statue was dismantled and reassembled, again with the Pollak arm incorporated.  The restored portions of the sons' arms and hands were removed. In the course of disassembly, it was possible to observe breaks, cuttings, metal tenons, and dowel holes which suggested that in antiquity, a more compact, three-dimensional pyramidal grouping of the three figures had been used or at least contemplated. According to Seymour Howard, both the Vatican group and the Sperlonga sculptures "show a similar taste for open and flexible pictorial organization that called for pyrotechnic piercing and lent itself to changes at the site, and in new situations".The more open, planographic composition along a plane, used in the restoration of the Laocoön group, has been interpreted as "apparently the result of serial reworkings by Roman Imperial as well as Renaissance and modern craftsmen". A different reconstruction was proposed by Seymour Howard, to give "a more cohesive, baroque-looking and diagonally-set pyramidal composition", by turning the older son as much as 90°, with his back to the side of the altar, and looking towards the frontal viewer rather than at his father.  The findings Seymour Howard documented do not change his belief about the organization of the original. But dating the reworked coil ends by measuring the depth of the surface crust and comparing the metal dowels in the original and reworked portions allows one to determine the provenance of the parts and the sequence of the repairs. Other suggestions have been made.

Category:Roman copies of Greek sculptures

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

Category:Archaeological discoveries in Italy

Palace of the Grand Master of the Knights of Rhodes

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

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

File:Caricature of the Laocoon group as apes.jpg

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

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

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

Category:Antiquities acquired by Napoleon

Category:Sculptures in the Vatican Museums

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

sculptures at Tiberius's villa at Sperlonga


Laocoön and His Sons

Prompt: Describe the characteristics of the Restorations in Laocoön and His Sons's History.

When the statue was discovered, Laocoön's right arm was missing, along with part of the hand of one son and the right arm of the other, and various sections of the snake. The older son, on the right, was detached from the other two figures.  The age of the altar used as a seat by Laocoön remains uncertain.  Artists and connoisseurs debated how the missing parts should be interpreted. Michelangelo suggested that the missing right arms were originally bent back over the shoulder. Others, however, believed it was more appropriate to show the right arms extended outwards in a heroic gesture.According to Vasari, in about 1510 Bramante, the Pope's architect, held an informal contest among sculptors to make replacement right arms, which was judged by Raphael, and won by Jacopo Sansovino. The winner, in the outstretched position, was used in copies but not attached to the original group, which remained as it was until 1532, when Giovanni Antonio Montorsoli, a pupil of Michelangelo, added his even more straight version of Laocoön's outstretched arm, which remained in place until modern times.  In 1725–1727 Agostino Cornacchini added a section to the younger son's arm, and after 1816 Antonio Canova tidied up the group after their return from Paris, without being convinced by the correctness of the additions but wishing to avoid a controversy.In 1906 Ludwig Pollak, archaeologist, art dealer and director of the Museo Barracco, discovered a fragment of a marble arm in a builder's yard in Rome, close to where the group was found. Noting a stylistic similarity to the Laocoön group he presented it to the Vatican Museums: it remained in their storerooms for half a century. In 1957 the museum decided that this arm – bent, as Michelangelo had suggested – had originally belonged to this Laocoön, and replaced it. According to Paolo Liverani: "Remarkably, despite the lack of a critical section, the join between the torso and the arm was guaranteed by a drill hole on one piece which aligned perfectly with a corresponding hole on the other."In the 1980s the statue was dismantled and reassembled, again with the Pollak arm incorporated.  The restored portions of the sons' arms and hands were removed. In the course of disassembly, it was possible to observe breaks, cuttings, metal tenons, and dowel holes which suggested that in antiquity, a more compact, three-dimensional pyramidal grouping of the three figures had been used or at least contemplated. According to Seymour Howard, both the Vatican group and the Sperlonga sculptures "show a similar taste for open and flexible pictorial organization that called for pyrotechnic piercing and lent itself to changes at the site, and in new situations".The more open, planographic composition along a plane, used in the restoration of the Laocoön group, has been interpreted as "apparently the result of serial reworkings by Roman Imperial as well as Renaissance and modern craftsmen". A different reconstruction was proposed by Seymour Howard, to give "a more cohesive, baroque-looking and diagonally-set pyramidal composition", by turning the older son as much as 90°, with his back to the side of the altar, and looking towards the frontal viewer rather than at his father.  The findings Seymour Howard documented do not change his belief about the organization of the original. But dating the reworked coil ends by measuring the depth of the surface crust and comparing the metal dowels in the original and reworked portions allows one to determine the provenance of the parts and the sequence of the repairs. Other suggestions have been made.

Category:Roman copies of Greek sculptures

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

Category:Archaeological discoveries in Italy

Palace of the Grand Master of the Knights of Rhodes

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

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

File:Caricature of the Laocoon group as apes.jpg

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

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

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

Category:Antiquities acquired by Napoleon

Category:Sculptures in the Vatican Museums

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

sculptures at Tiberius's villa at Sperlonga


Laocoön and His Sons

Prompt: Focus on Laocoön and His Sons and explain the Influence.

The discovery of the Laocoön made a great impression on Italian artists and continued to influence Italian art into the Baroque period. Michelangelo is known to have been particularly impressed by the massive scale of the work and its sensuous Hellenistic aesthetic, particularly its depiction of the male figures. The influence of the Laocoön, as well as the Belvedere Torso, is evidenced in many of Michelangelo's later sculptures, such as the Rebellious Slave and the Dying Slave, created for the tomb of Pope Julius II.  Several of the ignudi and the figure of Haman in the Sistine Chapel ceiling draw on the figures.  Raphael used the face of Laocoön for his Homer in his Parnassus in the Raphael Rooms, expressing blindness rather than pain.The Florentine sculptor Baccio Bandinelli was commissioned to make a copy by the Medici Pope Leo X. Bandinelli's version, which was often copied and distributed in small bronzes, is in the Uffizi Gallery, Florence, the Pope having decided it was too good to send to François I of France as originally intended. A bronze casting, made for François I at Fontainebleau from a mold taken from the original under the supervision of Primaticcio, is at the Musée du Louvre.  There are many copies of the statue, including a well-known one in the Grand Palace of the Knights of St. John in Rhodes. Many still show the arm in the outstretched position, but the copy in Rhodes has been corrected.The group was rapidly depicted in prints as well as small models, and became known all over Europe. Titian appears to have had access to a good cast or reproduction from about 1520, and echoes of the figures begin to appear in his works, two of them in the Averoldi Altarpiece of 1520–1522.  A woodcut, probably after a drawing by Titian, parodied the sculpture by portraying three apes instead of humans. It has often been interpreted as a satire on the clumsiness of Bandinelli's copy, or as a commentary on debates of the time around the similarities between human and ape anatomy. It has also been suggested that this woodcut was one of a number of Renaissance images that were made to reflect contemporary doubts as to the authenticity of the Laocoön Group, the 'aping' of the statue referring to the incorrect pose of the Trojan priest who was depicted in ancient art in the traditional sacrificial pose, with his leg raised to subdue the bull. Over 15 drawings of the group made by Rubens in Rome have survived, and the influence of the figures can be seen in many of his major works, including his Descent from the Cross in Antwerp Cathedral.The original was seized and taken to Paris by Napoleon Bonaparte after his conquest of Italy in 1799, and installed in a place of honour in the Musée Napoléon at the Louvre. Following the fall of Napoleon, it was returned by the Allies to the Vatican in 1816.

Category:Roman copies of Greek sculptures

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

Category:Archaeological discoveries in Italy

Palace of the Grand Master of the Knights of Rhodes

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

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

File:Caricature of the Laocoon group as apes.jpg

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

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

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

Category:Antiquities acquired by Napoleon

Category:Sculptures in the Vatican Museums

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

sculptures at Tiberius's villa at Sperlonga


Laocoön and His Sons

Prompt: Explain the Influence of this artwork, Laocoön and His Sons.

The discovery of the Laocoön made a great impression on Italian artists and continued to influence Italian art into the Baroque period. Michelangelo is known to have been particularly impressed by the massive scale of the work and its sensuous Hellenistic aesthetic, particularly its depiction of the male figures. The influence of the Laocoön, as well as the Belvedere Torso, is evidenced in many of Michelangelo's later sculptures, such as the Rebellious Slave and the Dying Slave, created for the tomb of Pope Julius II.  Several of the ignudi and the figure of Haman in the Sistine Chapel ceiling draw on the figures.  Raphael used the face of Laocoön for his Homer in his Parnassus in the Raphael Rooms, expressing blindness rather than pain.The Florentine sculptor Baccio Bandinelli was commissioned to make a copy by the Medici Pope Leo X. Bandinelli's version, which was often copied and distributed in small bronzes, is in the Uffizi Gallery, Florence, the Pope having decided it was too good to send to François I of France as originally intended. A bronze casting, made for François I at Fontainebleau from a mold taken from the original under the supervision of Primaticcio, is at the Musée du Louvre.  There are many copies of the statue, including a well-known one in the Grand Palace of the Knights of St. John in Rhodes. Many still show the arm in the outstretched position, but the copy in Rhodes has been corrected.The group was rapidly depicted in prints as well as small models, and became known all over Europe. Titian appears to have had access to a good cast or reproduction from about 1520, and echoes of the figures begin to appear in his works, two of them in the Averoldi Altarpiece of 1520–1522.  A woodcut, probably after a drawing by Titian, parodied the sculpture by portraying three apes instead of humans. It has often been interpreted as a satire on the clumsiness of Bandinelli's copy, or as a commentary on debates of the time around the similarities between human and ape anatomy. It has also been suggested that this woodcut was one of a number of Renaissance images that were made to reflect contemporary doubts as to the authenticity of the Laocoön Group, the 'aping' of the statue referring to the incorrect pose of the Trojan priest who was depicted in ancient art in the traditional sacrificial pose, with his leg raised to subdue the bull. Over 15 drawings of the group made by Rubens in Rome have survived, and the influence of the figures can be seen in many of his major works, including his Descent from the Cross in Antwerp Cathedral.The original was seized and taken to Paris by Napoleon Bonaparte after his conquest of Italy in 1799, and installed in a place of honour in the Musée Napoléon at the Louvre. Following the fall of Napoleon, it was returned by the Allies to the Vatican in 1816.

Category:Roman copies of Greek sculptures

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

Category:Archaeological discoveries in Italy

Palace of the Grand Master of the Knights of Rhodes

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

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

File:Caricature of the Laocoon group as apes.jpg

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

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

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

Category:Antiquities acquired by Napoleon

Category:Sculptures in the Vatican Museums

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

sculptures at Tiberius's villa at Sperlonga


Laocoön and His Sons

Prompt: How does Laocoön and His Sons explain its Influence?

The discovery of the Laocoön made a great impression on Italian artists and continued to influence Italian art into the Baroque period. Michelangelo is known to have been particularly impressed by the massive scale of the work and its sensuous Hellenistic aesthetic, particularly its depiction of the male figures. The influence of the Laocoön, as well as the Belvedere Torso, is evidenced in many of Michelangelo's later sculptures, such as the Rebellious Slave and the Dying Slave, created for the tomb of Pope Julius II.  Several of the ignudi and the figure of Haman in the Sistine Chapel ceiling draw on the figures.  Raphael used the face of Laocoön for his Homer in his Parnassus in the Raphael Rooms, expressing blindness rather than pain.The Florentine sculptor Baccio Bandinelli was commissioned to make a copy by the Medici Pope Leo X. Bandinelli's version, which was often copied and distributed in small bronzes, is in the Uffizi Gallery, Florence, the Pope having decided it was too good to send to François I of France as originally intended. A bronze casting, made for François I at Fontainebleau from a mold taken from the original under the supervision of Primaticcio, is at the Musée du Louvre.  There are many copies of the statue, including a well-known one in the Grand Palace of the Knights of St. John in Rhodes. Many still show the arm in the outstretched position, but the copy in Rhodes has been corrected.The group was rapidly depicted in prints as well as small models, and became known all over Europe. Titian appears to have had access to a good cast or reproduction from about 1520, and echoes of the figures begin to appear in his works, two of them in the Averoldi Altarpiece of 1520–1522.  A woodcut, probably after a drawing by Titian, parodied the sculpture by portraying three apes instead of humans. It has often been interpreted as a satire on the clumsiness of Bandinelli's copy, or as a commentary on debates of the time around the similarities between human and ape anatomy. It has also been suggested that this woodcut was one of a number of Renaissance images that were made to reflect contemporary doubts as to the authenticity of the Laocoön Group, the 'aping' of the statue referring to the incorrect pose of the Trojan priest who was depicted in ancient art in the traditional sacrificial pose, with his leg raised to subdue the bull. Over 15 drawings of the group made by Rubens in Rome have survived, and the influence of the figures can be seen in many of his major works, including his Descent from the Cross in Antwerp Cathedral.The original was seized and taken to Paris by Napoleon Bonaparte after his conquest of Italy in 1799, and installed in a place of honour in the Musée Napoléon at the Louvre. Following the fall of Napoleon, it was returned by the Allies to the Vatican in 1816.

Category:Roman copies of Greek sculptures

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

Category:Archaeological discoveries in Italy

Palace of the Grand Master of the Knights of Rhodes

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

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

File:Caricature of the Laocoon group as apes.jpg

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

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

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

Category:Antiquities acquired by Napoleon

Category:Sculptures in the Vatican Museums

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

sculptures at Tiberius's villa at Sperlonga


Laocoön and His Sons

Prompt: In Laocoön and His Sons, how is the Influence discussed?

The discovery of the Laocoön made a great impression on Italian artists and continued to influence Italian art into the Baroque period. Michelangelo is known to have been particularly impressed by the massive scale of the work and its sensuous Hellenistic aesthetic, particularly its depiction of the male figures. The influence of the Laocoön, as well as the Belvedere Torso, is evidenced in many of Michelangelo's later sculptures, such as the Rebellious Slave and the Dying Slave, created for the tomb of Pope Julius II.  Several of the ignudi and the figure of Haman in the Sistine Chapel ceiling draw on the figures.  Raphael used the face of Laocoön for his Homer in his Parnassus in the Raphael Rooms, expressing blindness rather than pain.The Florentine sculptor Baccio Bandinelli was commissioned to make a copy by the Medici Pope Leo X. Bandinelli's version, which was often copied and distributed in small bronzes, is in the Uffizi Gallery, Florence, the Pope having decided it was too good to send to François I of France as originally intended. A bronze casting, made for François I at Fontainebleau from a mold taken from the original under the supervision of Primaticcio, is at the Musée du Louvre.  There are many copies of the statue, including a well-known one in the Grand Palace of the Knights of St. John in Rhodes. Many still show the arm in the outstretched position, but the copy in Rhodes has been corrected.The group was rapidly depicted in prints as well as small models, and became known all over Europe. Titian appears to have had access to a good cast or reproduction from about 1520, and echoes of the figures begin to appear in his works, two of them in the Averoldi Altarpiece of 1520–1522.  A woodcut, probably after a drawing by Titian, parodied the sculpture by portraying three apes instead of humans. It has often been interpreted as a satire on the clumsiness of Bandinelli's copy, or as a commentary on debates of the time around the similarities between human and ape anatomy. It has also been suggested that this woodcut was one of a number of Renaissance images that were made to reflect contemporary doubts as to the authenticity of the Laocoön Group, the 'aping' of the statue referring to the incorrect pose of the Trojan priest who was depicted in ancient art in the traditional sacrificial pose, with his leg raised to subdue the bull. Over 15 drawings of the group made by Rubens in Rome have survived, and the influence of the figures can be seen in many of his major works, including his Descent from the Cross in Antwerp Cathedral.The original was seized and taken to Paris by Napoleon Bonaparte after his conquest of Italy in 1799, and installed in a place of honour in the Musée Napoléon at the Louvre. Following the fall of Napoleon, it was returned by the Allies to the Vatican in 1816.

Category:Roman copies of Greek sculptures

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

Category:Archaeological discoveries in Italy

Palace of the Grand Master of the Knights of Rhodes

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

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

File:Caricature of the Laocoon group as apes.jpg

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

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

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

Category:Antiquities acquired by Napoleon

Category:Sculptures in the Vatican Museums

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

sculptures at Tiberius's villa at Sperlonga


Laocoön and His Sons

Prompt: In the context of Laocoön and His Sons, explain the Laocoön as an ideal of art and the Influence.

Pliny's description of Laocoön as "a work to be preferred to all that the arts of painting and sculpture have produced" has led to a tradition which debates this claim that the sculpture is the greatest of all artworks. Johann Joachim Winckelmann (1717–1768) wrote about the paradox of admiring beauty while seeing a scene of death and failure.  The most influential contribution to the debate, Gotthold Ephraim Lessing's essay Laocoon: An Essay on the Limits of Painting and Poetry, examines the differences between visual and literary art by comparing the sculpture with Virgil's verse. He argues that the artists could not realistically depict the physical suffering of the victims, as this would be too painful. Instead, they had to express suffering while retaining beauty.Johann Goethe said the following in his essay, Upon the Laocoon "A true work of art, like a work of nature, never ceases to open boundlessly before the mind. We examine, – we are impressed with it, – it produces its effect; but it can never be all comprehended, still less can its essence, its value, be expressed in words.The most unusual intervention in the debate, William Blake's annotated print Laocoön, surrounds the image with graffiti-like commentary in several languages, written in multiple directions. Blake presents the sculpture as a mediocre copy of a lost Israelite original, describing it as "Jehovah & his two Sons Satan & Adam as they were copied from the Cherubim Of Solomons Temple by three Rhodians & applied to Natural Fact or History of Ilium". This reflects Blake's theory that the imitation of ancient Greek and Roman art was destructive to the creative imagination, and that Classical sculpture represented a banal naturalism in contrast to Judeo-Christian spiritual art.The central figure of Laocoön served as loose inspiration for the Indian in Horatio Greenough's The Rescue (1837–1850), which stood before the east façade of the United States Capitol for over 100 years.Near the end of Charles Dickens' 1843 novella, A Christmas Carol, Ebenezer Scrooge self-describes "making a perfect Laocoön of himself with his stockings" in his hurry to dress on Christmas morning.John Ruskin disliked the sculpture and compared its "disgusting convulsions" unfavourably with work by Michelangelo, whose fresco of The Brazen Serpent, on a corner pendentive of the Sistine Chapel, also involves figures struggling with snakes – the fiery serpents of the Book of Numbers. He invited contrast between the "meagre lines and contemptible tortures of the Laocoon" and the "awfulness and quietness" of Michelangelo, saying "the slaughter of the Dardan priest" was "entirely wanting" in sublimity. Furthermore, he attacked the composition on naturalistic grounds, contrasting the carefully studied human anatomy of the restored figures with the unconvincing portrayal of the snakes:For whatever knowledge of the human frame there may be in the Laocoön, there is certainly none of the habits of serpents. The fixing of the snake's head in the side of the principal figure is as false to nature, as it is poor in composition of line. A large serpent never wants to bite, it wants to hold, it seizes therefore always where it can hold best, by the extremities, or throat, it seizes once and forever, and that before it coils, following up the seizure with the twist of its body round the victim, as invisibly swift as the twist of a whip lash round any hard object it may strike, and then it holds fast, never moving the jaws or the body, if its prey has any power of struggling left, it throws round another coil, without quitting the hold with the jaws; if Laocoön had had to do with real serpents, instead of pieces of tape with heads to them, he would have been held still, and not allowed to throw his arms or legs about.In 1910 the critic Irving Babbitt used the title The New Laokoon: An Essay on the Confusion of the Arts for an essay on contemporary culture at the beginning of the 20th century. In 1940 Clement Greenberg adapted the concept for his own essay entitled Towards a Newer Laocoön in which he argued that abstract art now provided an ideal for artists to measure their work against. A 2007 exhibition at the Henry Moore Institute in turn copied this title while exhibiting work by modern artists influenced by the sculpture.

Category:Roman copies of Greek sculptures

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

Category:Archaeological discoveries in Italy

Palace of the Grand Master of the Knights of Rhodes

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

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

File:Caricature of the Laocoon group as apes.jpg

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

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

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

Category:Antiquities acquired by Napoleon

Category:Sculptures in the Vatican Museums

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

sculptures at Tiberius's villa at Sperlonga


Laocoön and His Sons

Prompt: Explain the Laocoön as an ideal of art about the Influence of this artwork, Laocoön and His Sons.

Pliny's description of Laocoön as "a work to be preferred to all that the arts of painting and sculpture have produced" has led to a tradition which debates this claim that the sculpture is the greatest of all artworks. Johann Joachim Winckelmann (1717–1768) wrote about the paradox of admiring beauty while seeing a scene of death and failure.  The most influential contribution to the debate, Gotthold Ephraim Lessing's essay Laocoon: An Essay on the Limits of Painting and Poetry, examines the differences between visual and literary art by comparing the sculpture with Virgil's verse. He argues that the artists could not realistically depict the physical suffering of the victims, as this would be too painful. Instead, they had to express suffering while retaining beauty.Johann Goethe said the following in his essay, Upon the Laocoon "A true work of art, like a work of nature, never ceases to open boundlessly before the mind. We examine, – we are impressed with it, – it produces its effect; but it can never be all comprehended, still less can its essence, its value, be expressed in words.The most unusual intervention in the debate, William Blake's annotated print Laocoön, surrounds the image with graffiti-like commentary in several languages, written in multiple directions. Blake presents the sculpture as a mediocre copy of a lost Israelite original, describing it as "Jehovah & his two Sons Satan & Adam as they were copied from the Cherubim Of Solomons Temple by three Rhodians & applied to Natural Fact or History of Ilium". This reflects Blake's theory that the imitation of ancient Greek and Roman art was destructive to the creative imagination, and that Classical sculpture represented a banal naturalism in contrast to Judeo-Christian spiritual art.The central figure of Laocoön served as loose inspiration for the Indian in Horatio Greenough's The Rescue (1837–1850), which stood before the east façade of the United States Capitol for over 100 years.Near the end of Charles Dickens' 1843 novella, A Christmas Carol, Ebenezer Scrooge self-describes "making a perfect Laocoön of himself with his stockings" in his hurry to dress on Christmas morning.John Ruskin disliked the sculpture and compared its "disgusting convulsions" unfavourably with work by Michelangelo, whose fresco of The Brazen Serpent, on a corner pendentive of the Sistine Chapel, also involves figures struggling with snakes – the fiery serpents of the Book of Numbers. He invited contrast between the "meagre lines and contemptible tortures of the Laocoon" and the "awfulness and quietness" of Michelangelo, saying "the slaughter of the Dardan priest" was "entirely wanting" in sublimity. Furthermore, he attacked the composition on naturalistic grounds, contrasting the carefully studied human anatomy of the restored figures with the unconvincing portrayal of the snakes:For whatever knowledge of the human frame there may be in the Laocoön, there is certainly none of the habits of serpents. The fixing of the snake's head in the side of the principal figure is as false to nature, as it is poor in composition of line. A large serpent never wants to bite, it wants to hold, it seizes therefore always where it can hold best, by the extremities, or throat, it seizes once and forever, and that before it coils, following up the seizure with the twist of its body round the victim, as invisibly swift as the twist of a whip lash round any hard object it may strike, and then it holds fast, never moving the jaws or the body, if its prey has any power of struggling left, it throws round another coil, without quitting the hold with the jaws; if Laocoön had had to do with real serpents, instead of pieces of tape with heads to them, he would have been held still, and not allowed to throw his arms or legs about.In 1910 the critic Irving Babbitt used the title The New Laokoon: An Essay on the Confusion of the Arts for an essay on contemporary culture at the beginning of the 20th century. In 1940 Clement Greenberg adapted the concept for his own essay entitled Towards a Newer Laocoön in which he argued that abstract art now provided an ideal for artists to measure their work against. A 2007 exhibition at the Henry Moore Institute in turn copied this title while exhibiting work by modern artists influenced by the sculpture.

Category:Roman copies of Greek sculptures

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

Category:Archaeological discoveries in Italy

Palace of the Grand Master of the Knights of Rhodes

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

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

File:Caricature of the Laocoon group as apes.jpg

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

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

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

Category:Antiquities acquired by Napoleon

Category:Sculptures in the Vatican Museums

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

sculptures at Tiberius's villa at Sperlonga


Laocoön and His Sons

Prompt: In Laocoön and His Sons, how is the Laocoön as an ideal of art of the Influence explained?

Pliny's description of Laocoön as "a work to be preferred to all that the arts of painting and sculpture have produced" has led to a tradition which debates this claim that the sculpture is the greatest of all artworks. Johann Joachim Winckelmann (1717–1768) wrote about the paradox of admiring beauty while seeing a scene of death and failure.  The most influential contribution to the debate, Gotthold Ephraim Lessing's essay Laocoon: An Essay on the Limits of Painting and Poetry, examines the differences between visual and literary art by comparing the sculpture with Virgil's verse. He argues that the artists could not realistically depict the physical suffering of the victims, as this would be too painful. Instead, they had to express suffering while retaining beauty.Johann Goethe said the following in his essay, Upon the Laocoon "A true work of art, like a work of nature, never ceases to open boundlessly before the mind. We examine, – we are impressed with it, – it produces its effect; but it can never be all comprehended, still less can its essence, its value, be expressed in words.The most unusual intervention in the debate, William Blake's annotated print Laocoön, surrounds the image with graffiti-like commentary in several languages, written in multiple directions. Blake presents the sculpture as a mediocre copy of a lost Israelite original, describing it as "Jehovah & his two Sons Satan & Adam as they were copied from the Cherubim Of Solomons Temple by three Rhodians & applied to Natural Fact or History of Ilium". This reflects Blake's theory that the imitation of ancient Greek and Roman art was destructive to the creative imagination, and that Classical sculpture represented a banal naturalism in contrast to Judeo-Christian spiritual art.The central figure of Laocoön served as loose inspiration for the Indian in Horatio Greenough's The Rescue (1837–1850), which stood before the east façade of the United States Capitol for over 100 years.Near the end of Charles Dickens' 1843 novella, A Christmas Carol, Ebenezer Scrooge self-describes "making a perfect Laocoön of himself with his stockings" in his hurry to dress on Christmas morning.John Ruskin disliked the sculpture and compared its "disgusting convulsions" unfavourably with work by Michelangelo, whose fresco of The Brazen Serpent, on a corner pendentive of the Sistine Chapel, also involves figures struggling with snakes – the fiery serpents of the Book of Numbers. He invited contrast between the "meagre lines and contemptible tortures of the Laocoon" and the "awfulness and quietness" of Michelangelo, saying "the slaughter of the Dardan priest" was "entirely wanting" in sublimity. Furthermore, he attacked the composition on naturalistic grounds, contrasting the carefully studied human anatomy of the restored figures with the unconvincing portrayal of the snakes:For whatever knowledge of the human frame there may be in the Laocoön, there is certainly none of the habits of serpents. The fixing of the snake's head in the side of the principal figure is as false to nature, as it is poor in composition of line. A large serpent never wants to bite, it wants to hold, it seizes therefore always where it can hold best, by the extremities, or throat, it seizes once and forever, and that before it coils, following up the seizure with the twist of its body round the victim, as invisibly swift as the twist of a whip lash round any hard object it may strike, and then it holds fast, never moving the jaws or the body, if its prey has any power of struggling left, it throws round another coil, without quitting the hold with the jaws; if Laocoön had had to do with real serpents, instead of pieces of tape with heads to them, he would have been held still, and not allowed to throw his arms or legs about.In 1910 the critic Irving Babbitt used the title The New Laokoon: An Essay on the Confusion of the Arts for an essay on contemporary culture at the beginning of the 20th century. In 1940 Clement Greenberg adapted the concept for his own essay entitled Towards a Newer Laocoön in which he argued that abstract art now provided an ideal for artists to measure their work against. A 2007 exhibition at the Henry Moore Institute in turn copied this title while exhibiting work by modern artists influenced by the sculpture.

Category:Roman copies of Greek sculptures

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

Category:Archaeological discoveries in Italy

Palace of the Grand Master of the Knights of Rhodes

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

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

File:Caricature of the Laocoon group as apes.jpg

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

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

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

Category:Antiquities acquired by Napoleon

Category:Sculptures in the Vatican Museums

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

sculptures at Tiberius's villa at Sperlonga


Laocoön and His Sons

Prompt: Describe the characteristics of the Laocoön as an ideal of art in Laocoön and His Sons's Influence.

Pliny's description of Laocoön as "a work to be preferred to all that the arts of painting and sculpture have produced" has led to a tradition which debates this claim that the sculpture is the greatest of all artworks. Johann Joachim Winckelmann (1717–1768) wrote about the paradox of admiring beauty while seeing a scene of death and failure.  The most influential contribution to the debate, Gotthold Ephraim Lessing's essay Laocoon: An Essay on the Limits of Painting and Poetry, examines the differences between visual and literary art by comparing the sculpture with Virgil's verse. He argues that the artists could not realistically depict the physical suffering of the victims, as this would be too painful. Instead, they had to express suffering while retaining beauty.Johann Goethe said the following in his essay, Upon the Laocoon "A true work of art, like a work of nature, never ceases to open boundlessly before the mind. We examine, – we are impressed with it, – it produces its effect; but it can never be all comprehended, still less can its essence, its value, be expressed in words.The most unusual intervention in the debate, William Blake's annotated print Laocoön, surrounds the image with graffiti-like commentary in several languages, written in multiple directions. Blake presents the sculpture as a mediocre copy of a lost Israelite original, describing it as "Jehovah & his two Sons Satan & Adam as they were copied from the Cherubim Of Solomons Temple by three Rhodians & applied to Natural Fact or History of Ilium". This reflects Blake's theory that the imitation of ancient Greek and Roman art was destructive to the creative imagination, and that Classical sculpture represented a banal naturalism in contrast to Judeo-Christian spiritual art.The central figure of Laocoön served as loose inspiration for the Indian in Horatio Greenough's The Rescue (1837–1850), which stood before the east façade of the United States Capitol for over 100 years.Near the end of Charles Dickens' 1843 novella, A Christmas Carol, Ebenezer Scrooge self-describes "making a perfect Laocoön of himself with his stockings" in his hurry to dress on Christmas morning.John Ruskin disliked the sculpture and compared its "disgusting convulsions" unfavourably with work by Michelangelo, whose fresco of The Brazen Serpent, on a corner pendentive of the Sistine Chapel, also involves figures struggling with snakes – the fiery serpents of the Book of Numbers. He invited contrast between the "meagre lines and contemptible tortures of the Laocoon" and the "awfulness and quietness" of Michelangelo, saying "the slaughter of the Dardan priest" was "entirely wanting" in sublimity. Furthermore, he attacked the composition on naturalistic grounds, contrasting the carefully studied human anatomy of the restored figures with the unconvincing portrayal of the snakes:For whatever knowledge of the human frame there may be in the Laocoön, there is certainly none of the habits of serpents. The fixing of the snake's head in the side of the principal figure is as false to nature, as it is poor in composition of line. A large serpent never wants to bite, it wants to hold, it seizes therefore always where it can hold best, by the extremities, or throat, it seizes once and forever, and that before it coils, following up the seizure with the twist of its body round the victim, as invisibly swift as the twist of a whip lash round any hard object it may strike, and then it holds fast, never moving the jaws or the body, if its prey has any power of struggling left, it throws round another coil, without quitting the hold with the jaws; if Laocoön had had to do with real serpents, instead of pieces of tape with heads to them, he would have been held still, and not allowed to throw his arms or legs about.In 1910 the critic Irving Babbitt used the title The New Laokoon: An Essay on the Confusion of the Arts for an essay on contemporary culture at the beginning of the 20th century. In 1940 Clement Greenberg adapted the concept for his own essay entitled Towards a Newer Laocoön in which he argued that abstract art now provided an ideal for artists to measure their work against. A 2007 exhibition at the Henry Moore Institute in turn copied this title while exhibiting work by modern artists influenced by the sculpture.

Category:Roman copies of Greek sculptures

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

Category:Archaeological discoveries in Italy

Palace of the Grand Master of the Knights of Rhodes

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

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

File:Caricature of the Laocoon group as apes.jpg

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

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

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

Category:Antiquities acquired by Napoleon

Category:Sculptures in the Vatican Museums

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

sculptures at Tiberius's villa at Sperlonga


Laocoön and His Sons

Prompt: Focus on Laocoön and His Sons and explain the Findspot.

The location where the buried statue was found in 1506 was always known to be "in the vineyard of Felice De Fredis" on the Oppian Hill (the southern spur of the Esquiline Hill), as noted in the document recording the sale of the group to the Pope.  But over time, knowledge of the site's precise location was lost, beyond "vague" statements such as Sangallo's "near Santa Maria Maggiore" (see above) or it being "near the site of the Domus Aurea" (the palace of the Emperor Nero); in modern terms near the Colosseum.  An inscribed plaque of 1529 in the church of Santa Maria in Aracoeli records the burial of De Fredis and his son there, covering his finding of the group but giving no occupation. Research published in 2010 has recovered two documents in the municipal archives (badly indexed, and so missed by earlier researchers), which have established a much more precise location for the find: slightly to the east of the southern end of the Sette Sale, the ruined cistern for the successive imperial baths at the base of the hill by the Colosseum.The first document records De Fredis' purchase of a vineyard of about 1.5 hectares from a convent for 135 ducats on 14 November 1504, exactly 14 months before the finding of the statue.  The second document, from 1527, makes it clear that there is now a house on the property, and clarifies the location; by then De Fredis was dead and his widow rented out the house. The house appears on a map of 1748, and still survives as a substantial building of three storeys, as of 2014 in the courtyard of a convent.  The area remained mainly agricultural until the 19th century, but is now entirely built up. It is speculated that De Fredis began building the house soon after his purchase, and as the group was reported to have been found some four metres below ground, at a depth unlikely to be reached by normal vineyard-digging operations, it seems likely that it was discovered when digging the foundations for the house, or possibly a well for it.The findspot was inside and very close to the Servian Wall, which was still maintained in the 1st century AD (possibly converted to an aqueduct), though no longer the city boundary, as building had spread well beyond it.  The spot was within the Gardens of Maecenas, founded by Gaius Maecenas the ally of Augustus and patron of the arts.  He bequeathed the gardens to Augustus in 8 BC, and Tiberius lived there after he returned to Rome as heir to Augustus in 2 AD.  Pliny said the Laocoön was in his time at the palace of Titus (qui est in Titi imperatoris domo), then heir to his father Vespasian, but the location of Titus's residence remains unknown; the imperial estate of the Gardens of Maecenas may be a plausible candidate.  If the Laocoön group was already in the location of the later findspot by the time Pliny saw it, it might have arrived there under Maecenas or any of the emperors.  The extent of the grounds of Nero's Domus Aurea is now unclear, but they do not appear to have extended so far north or east, though the newly rediscovered findspot-location is not very far beyond them.

Category:Roman copies of Greek sculptures

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

Category:Archaeological discoveries in Italy

Palace of the Grand Master of the Knights of Rhodes

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

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

File:Caricature of the Laocoon group as apes.jpg

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

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

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

Category:Antiquities acquired by Napoleon

Category:Sculptures in the Vatican Museums

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

sculptures at Tiberius's villa at Sperlonga


Laocoön and His Sons

Prompt: Explain the Findspot of this artwork, Laocoön and His Sons.

The location where the buried statue was found in 1506 was always known to be "in the vineyard of Felice De Fredis" on the Oppian Hill (the southern spur of the Esquiline Hill), as noted in the document recording the sale of the group to the Pope.  But over time, knowledge of the site's precise location was lost, beyond "vague" statements such as Sangallo's "near Santa Maria Maggiore" (see above) or it being "near the site of the Domus Aurea" (the palace of the Emperor Nero); in modern terms near the Colosseum.  An inscribed plaque of 1529 in the church of Santa Maria in Aracoeli records the burial of De Fredis and his son there, covering his finding of the group but giving no occupation. Research published in 2010 has recovered two documents in the municipal archives (badly indexed, and so missed by earlier researchers), which have established a much more precise location for the find: slightly to the east of the southern end of the Sette Sale, the ruined cistern for the successive imperial baths at the base of the hill by the Colosseum.The first document records De Fredis' purchase of a vineyard of about 1.5 hectares from a convent for 135 ducats on 14 November 1504, exactly 14 months before the finding of the statue.  The second document, from 1527, makes it clear that there is now a house on the property, and clarifies the location; by then De Fredis was dead and his widow rented out the house. The house appears on a map of 1748, and still survives as a substantial building of three storeys, as of 2014 in the courtyard of a convent.  The area remained mainly agricultural until the 19th century, but is now entirely built up. It is speculated that De Fredis began building the house soon after his purchase, and as the group was reported to have been found some four metres below ground, at a depth unlikely to be reached by normal vineyard-digging operations, it seems likely that it was discovered when digging the foundations for the house, or possibly a well for it.The findspot was inside and very close to the Servian Wall, which was still maintained in the 1st century AD (possibly converted to an aqueduct), though no longer the city boundary, as building had spread well beyond it.  The spot was within the Gardens of Maecenas, founded by Gaius Maecenas the ally of Augustus and patron of the arts.  He bequeathed the gardens to Augustus in 8 BC, and Tiberius lived there after he returned to Rome as heir to Augustus in 2 AD.  Pliny said the Laocoön was in his time at the palace of Titus (qui est in Titi imperatoris domo), then heir to his father Vespasian, but the location of Titus's residence remains unknown; the imperial estate of the Gardens of Maecenas may be a plausible candidate.  If the Laocoön group was already in the location of the later findspot by the time Pliny saw it, it might have arrived there under Maecenas or any of the emperors.  The extent of the grounds of Nero's Domus Aurea is now unclear, but they do not appear to have extended so far north or east, though the newly rediscovered findspot-location is not very far beyond them.

Category:Roman copies of Greek sculptures

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

Category:Archaeological discoveries in Italy

Palace of the Grand Master of the Knights of Rhodes

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

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

File:Caricature of the Laocoon group as apes.jpg

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

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

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

Category:Antiquities acquired by Napoleon

Category:Sculptures in the Vatican Museums

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

sculptures at Tiberius's villa at Sperlonga


Laocoön and His Sons

Prompt: How does Laocoön and His Sons explain its Findspot?

The location where the buried statue was found in 1506 was always known to be "in the vineyard of Felice De Fredis" on the Oppian Hill (the southern spur of the Esquiline Hill), as noted in the document recording the sale of the group to the Pope.  But over time, knowledge of the site's precise location was lost, beyond "vague" statements such as Sangallo's "near Santa Maria Maggiore" (see above) or it being "near the site of the Domus Aurea" (the palace of the Emperor Nero); in modern terms near the Colosseum.  An inscribed plaque of 1529 in the church of Santa Maria in Aracoeli records the burial of De Fredis and his son there, covering his finding of the group but giving no occupation. Research published in 2010 has recovered two documents in the municipal archives (badly indexed, and so missed by earlier researchers), which have established a much more precise location for the find: slightly to the east of the southern end of the Sette Sale, the ruined cistern for the successive imperial baths at the base of the hill by the Colosseum.The first document records De Fredis' purchase of a vineyard of about 1.5 hectares from a convent for 135 ducats on 14 November 1504, exactly 14 months before the finding of the statue.  The second document, from 1527, makes it clear that there is now a house on the property, and clarifies the location; by then De Fredis was dead and his widow rented out the house. The house appears on a map of 1748, and still survives as a substantial building of three storeys, as of 2014 in the courtyard of a convent.  The area remained mainly agricultural until the 19th century, but is now entirely built up. It is speculated that De Fredis began building the house soon after his purchase, and as the group was reported to have been found some four metres below ground, at a depth unlikely to be reached by normal vineyard-digging operations, it seems likely that it was discovered when digging the foundations for the house, or possibly a well for it.The findspot was inside and very close to the Servian Wall, which was still maintained in the 1st century AD (possibly converted to an aqueduct), though no longer the city boundary, as building had spread well beyond it.  The spot was within the Gardens of Maecenas, founded by Gaius Maecenas the ally of Augustus and patron of the arts.  He bequeathed the gardens to Augustus in 8 BC, and Tiberius lived there after he returned to Rome as heir to Augustus in 2 AD.  Pliny said the Laocoön was in his time at the palace of Titus (qui est in Titi imperatoris domo), then heir to his father Vespasian, but the location of Titus's residence remains unknown; the imperial estate of the Gardens of Maecenas may be a plausible candidate.  If the Laocoön group was already in the location of the later findspot by the time Pliny saw it, it might have arrived there under Maecenas or any of the emperors.  The extent of the grounds of Nero's Domus Aurea is now unclear, but they do not appear to have extended so far north or east, though the newly rediscovered findspot-location is not very far beyond them.

Category:Roman copies of Greek sculptures

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

Category:Archaeological discoveries in Italy

Palace of the Grand Master of the Knights of Rhodes

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

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

File:Caricature of the Laocoon group as apes.jpg

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

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

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

Category:Antiquities acquired by Napoleon

Category:Sculptures in the Vatican Museums

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

sculptures at Tiberius's villa at Sperlonga


Laocoön and His Sons

Prompt: In Laocoön and His Sons, how is the Findspot discussed?

The location where the buried statue was found in 1506 was always known to be "in the vineyard of Felice De Fredis" on the Oppian Hill (the southern spur of the Esquiline Hill), as noted in the document recording the sale of the group to the Pope.  But over time, knowledge of the site's precise location was lost, beyond "vague" statements such as Sangallo's "near Santa Maria Maggiore" (see above) or it being "near the site of the Domus Aurea" (the palace of the Emperor Nero); in modern terms near the Colosseum.  An inscribed plaque of 1529 in the church of Santa Maria in Aracoeli records the burial of De Fredis and his son there, covering his finding of the group but giving no occupation. Research published in 2010 has recovered two documents in the municipal archives (badly indexed, and so missed by earlier researchers), which have established a much more precise location for the find: slightly to the east of the southern end of the Sette Sale, the ruined cistern for the successive imperial baths at the base of the hill by the Colosseum.The first document records De Fredis' purchase of a vineyard of about 1.5 hectares from a convent for 135 ducats on 14 November 1504, exactly 14 months before the finding of the statue.  The second document, from 1527, makes it clear that there is now a house on the property, and clarifies the location; by then De Fredis was dead and his widow rented out the house. The house appears on a map of 1748, and still survives as a substantial building of three storeys, as of 2014 in the courtyard of a convent.  The area remained mainly agricultural until the 19th century, but is now entirely built up. It is speculated that De Fredis began building the house soon after his purchase, and as the group was reported to have been found some four metres below ground, at a depth unlikely to be reached by normal vineyard-digging operations, it seems likely that it was discovered when digging the foundations for the house, or possibly a well for it.The findspot was inside and very close to the Servian Wall, which was still maintained in the 1st century AD (possibly converted to an aqueduct), though no longer the city boundary, as building had spread well beyond it.  The spot was within the Gardens of Maecenas, founded by Gaius Maecenas the ally of Augustus and patron of the arts.  He bequeathed the gardens to Augustus in 8 BC, and Tiberius lived there after he returned to Rome as heir to Augustus in 2 AD.  Pliny said the Laocoön was in his time at the palace of Titus (qui est in Titi imperatoris domo), then heir to his father Vespasian, but the location of Titus's residence remains unknown; the imperial estate of the Gardens of Maecenas may be a plausible candidate.  If the Laocoön group was already in the location of the later findspot by the time Pliny saw it, it might have arrived there under Maecenas or any of the emperors.  The extent of the grounds of Nero's Domus Aurea is now unclear, but they do not appear to have extended so far north or east, though the newly rediscovered findspot-location is not very far beyond them.

Category:Roman copies of Greek sculptures

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

Category:Archaeological discoveries in Italy

Palace of the Grand Master of the Knights of Rhodes

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

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

File:Caricature of the Laocoon group as apes.jpg

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

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

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

Category:Antiquities acquired by Napoleon

Category:Sculptures in the Vatican Museums

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

sculptures at Tiberius's villa at Sperlonga


Charging Bull

Prompt: Focus on Charging Bull and explain the abstract.

Charging Bull (sometimes referred to as the Bull of Wall Street or the Bowling Green Bull) is a bronze sculpture that stands on Broadway just north of Bowling Green in the Financial District of Manhattan in New York City. The 7,100-pound (3,200 kg) bronze sculpture, standing 11 feet (3.4 m) tall and measuring 16 feet (4.9 m) long, depicts a bull, the symbol of financial optimism and prosperity. Charging Bull is a popular tourist destination that draws thousands of people a day, symbolizing Wall Street and the Financial District.The sculpture was created by Italian artist Arturo Di Modica in the wake of the 1987 Black Monday stock market crash. Late in the evening of Thursday, December 14, 1989, Di Modica arrived on Wall Street with Charging Bull on the back of a truck and illegally dropped the sculpture outside of the New York Stock Exchange Building. After being removed by the New York City Police Department later that day, Charging Bull was installed at Bowling Green on December 20, 1989. Despite initially having only a temporary permit to be located at Bowling Green, Charging Bull became a popular tourist attraction. Di Modica may have been influenced by a pair of huge metallic sculptures, a charging bull and a bear, placed in front of the Frankfurt, Germany Stock Exchange in 1985 as part of the 400th celebration of the exchange. Following the success of the original sculpture, Di Modica created a number of variations of the Charging Bull which have been sold to private collectors. Charging Bull has been a subject of criticism from an anti-capitalist perspective, such as in the Occupy Wall Street protests of 2011, and has also been compared to the biblical golden calf worshiped by the Israelites shortly after their Exodus from Egypt.

Category:Vandalized works of art in New York City

A poster showing a ballerina on the ''Charging Bull'' to promote the [[Occupy Wall Street

The ''Charging Bull''{{'}}s scrotum is noticeably lighter in color due to frequent rubbing.

Category:1989 establishments in New York City

Category:Outdoor sculptures in Manhattan

''Charging Bull'' covered in a blue tarp and surrounded by barricades in June 2020 during the [[George Floyd protests in New York City

File:DiModica working on Crosby St basement.png

Arturo Di Modica and his representative Jacob Harmer in Sicily, Italy, in 2017

New York City Department of Transportation

''Charging Bull'' is at the northern tip of Bowling Green.

File:Arturo Di Modica and his representative Jacob Harmer.png

Arturo Di Modica in 54 Crosby St studio where ''Charging Bull'' was conceived

United States withdrawal from the Paris Agreement

alt=Charging Bull covered in a blue tarp and surrounded by barricades to protect it from vandalism. This photo was taken in June 2020, during the George Floyd protests in New York City.

New York City Department of Parks and Recreation

File:Testicles of the Charging Bull statue in New York City.jpg


Charging Bull

Prompt: Explain the abstract of this artwork, Charging Bull.

Charging Bull (sometimes referred to as the Bull of Wall Street or the Bowling Green Bull) is a bronze sculpture that stands on Broadway just north of Bowling Green in the Financial District of Manhattan in New York City. The 7,100-pound (3,200 kg) bronze sculpture, standing 11 feet (3.4 m) tall and measuring 16 feet (4.9 m) long, depicts a bull, the symbol of financial optimism and prosperity. Charging Bull is a popular tourist destination that draws thousands of people a day, symbolizing Wall Street and the Financial District.The sculpture was created by Italian artist Arturo Di Modica in the wake of the 1987 Black Monday stock market crash. Late in the evening of Thursday, December 14, 1989, Di Modica arrived on Wall Street with Charging Bull on the back of a truck and illegally dropped the sculpture outside of the New York Stock Exchange Building. After being removed by the New York City Police Department later that day, Charging Bull was installed at Bowling Green on December 20, 1989. Despite initially having only a temporary permit to be located at Bowling Green, Charging Bull became a popular tourist attraction. Di Modica may have been influenced by a pair of huge metallic sculptures, a charging bull and a bear, placed in front of the Frankfurt, Germany Stock Exchange in 1985 as part of the 400th celebration of the exchange. Following the success of the original sculpture, Di Modica created a number of variations of the Charging Bull which have been sold to private collectors. Charging Bull has been a subject of criticism from an anti-capitalist perspective, such as in the Occupy Wall Street protests of 2011, and has also been compared to the biblical golden calf worshiped by the Israelites shortly after their Exodus from Egypt.

Category:Vandalized works of art in New York City

A poster showing a ballerina on the ''Charging Bull'' to promote the [[Occupy Wall Street

The ''Charging Bull''{{'}}s scrotum is noticeably lighter in color due to frequent rubbing.

Category:1989 establishments in New York City

Category:Outdoor sculptures in Manhattan

''Charging Bull'' covered in a blue tarp and surrounded by barricades in June 2020 during the [[George Floyd protests in New York City

File:DiModica working on Crosby St basement.png

Arturo Di Modica and his representative Jacob Harmer in Sicily, Italy, in 2017

New York City Department of Transportation

''Charging Bull'' is at the northern tip of Bowling Green.

File:Arturo Di Modica and his representative Jacob Harmer.png

Arturo Di Modica in 54 Crosby St studio where ''Charging Bull'' was conceived

United States withdrawal from the Paris Agreement

alt=Charging Bull covered in a blue tarp and surrounded by barricades to protect it from vandalism. This photo was taken in June 2020, during the George Floyd protests in New York City.

New York City Department of Parks and Recreation

File:Testicles of the Charging Bull statue in New York City.jpg


Charging Bull

Prompt: How does Charging Bull explain its abstract?

Charging Bull (sometimes referred to as the Bull of Wall Street or the Bowling Green Bull) is a bronze sculpture that stands on Broadway just north of Bowling Green in the Financial District of Manhattan in New York City. The 7,100-pound (3,200 kg) bronze sculpture, standing 11 feet (3.4 m) tall and measuring 16 feet (4.9 m) long, depicts a bull, the symbol of financial optimism and prosperity. Charging Bull is a popular tourist destination that draws thousands of people a day, symbolizing Wall Street and the Financial District.The sculpture was created by Italian artist Arturo Di Modica in the wake of the 1987 Black Monday stock market crash. Late in the evening of Thursday, December 14, 1989, Di Modica arrived on Wall Street with Charging Bull on the back of a truck and illegally dropped the sculpture outside of the New York Stock Exchange Building. After being removed by the New York City Police Department later that day, Charging Bull was installed at Bowling Green on December 20, 1989. Despite initially having only a temporary permit to be located at Bowling Green, Charging Bull became a popular tourist attraction. Di Modica may have been influenced by a pair of huge metallic sculptures, a charging bull and a bear, placed in front of the Frankfurt, Germany Stock Exchange in 1985 as part of the 400th celebration of the exchange. Following the success of the original sculpture, Di Modica created a number of variations of the Charging Bull which have been sold to private collectors. Charging Bull has been a subject of criticism from an anti-capitalist perspective, such as in the Occupy Wall Street protests of 2011, and has also been compared to the biblical golden calf worshiped by the Israelites shortly after their Exodus from Egypt.

Category:Vandalized works of art in New York City

A poster showing a ballerina on the ''Charging Bull'' to promote the [[Occupy Wall Street

The ''Charging Bull''{{'}}s scrotum is noticeably lighter in color due to frequent rubbing.

Category:1989 establishments in New York City

Category:Outdoor sculptures in Manhattan

''Charging Bull'' covered in a blue tarp and surrounded by barricades in June 2020 during the [[George Floyd protests in New York City

File:DiModica working on Crosby St basement.png

Arturo Di Modica and his representative Jacob Harmer in Sicily, Italy, in 2017

New York City Department of Transportation

''Charging Bull'' is at the northern tip of Bowling Green.

File:Arturo Di Modica and his representative Jacob Harmer.png

Arturo Di Modica in 54 Crosby St studio where ''Charging Bull'' was conceived

United States withdrawal from the Paris Agreement

alt=Charging Bull covered in a blue tarp and surrounded by barricades to protect it from vandalism. This photo was taken in June 2020, during the George Floyd protests in New York City.

New York City Department of Parks and Recreation

File:Testicles of the Charging Bull statue in New York City.jpg


Charging Bull

Prompt: In Charging Bull, how is the abstract discussed?

Charging Bull (sometimes referred to as the Bull of Wall Street or the Bowling Green Bull) is a bronze sculpture that stands on Broadway just north of Bowling Green in the Financial District of Manhattan in New York City. The 7,100-pound (3,200 kg) bronze sculpture, standing 11 feet (3.4 m) tall and measuring 16 feet (4.9 m) long, depicts a bull, the symbol of financial optimism and prosperity. Charging Bull is a popular tourist destination that draws thousands of people a day, symbolizing Wall Street and the Financial District.The sculpture was created by Italian artist Arturo Di Modica in the wake of the 1987 Black Monday stock market crash. Late in the evening of Thursday, December 14, 1989, Di Modica arrived on Wall Street with Charging Bull on the back of a truck and illegally dropped the sculpture outside of the New York Stock Exchange Building. After being removed by the New York City Police Department later that day, Charging Bull was installed at Bowling Green on December 20, 1989. Despite initially having only a temporary permit to be located at Bowling Green, Charging Bull became a popular tourist attraction. Di Modica may have been influenced by a pair of huge metallic sculptures, a charging bull and a bear, placed in front of the Frankfurt, Germany Stock Exchange in 1985 as part of the 400th celebration of the exchange. Following the success of the original sculpture, Di Modica created a number of variations of the Charging Bull which have been sold to private collectors. Charging Bull has been a subject of criticism from an anti-capitalist perspective, such as in the Occupy Wall Street protests of 2011, and has also been compared to the biblical golden calf worshiped by the Israelites shortly after their Exodus from Egypt.

Category:Vandalized works of art in New York City

A poster showing a ballerina on the ''Charging Bull'' to promote the [[Occupy Wall Street

The ''Charging Bull''{{'}}s scrotum is noticeably lighter in color due to frequent rubbing.

Category:1989 establishments in New York City

Category:Outdoor sculptures in Manhattan

''Charging Bull'' covered in a blue tarp and surrounded by barricades in June 2020 during the [[George Floyd protests in New York City

File:DiModica working on Crosby St basement.png

Arturo Di Modica and his representative Jacob Harmer in Sicily, Italy, in 2017

New York City Department of Transportation

''Charging Bull'' is at the northern tip of Bowling Green.

File:Arturo Di Modica and his representative Jacob Harmer.png

Arturo Di Modica in 54 Crosby St studio where ''Charging Bull'' was conceived

United States withdrawal from the Paris Agreement

alt=Charging Bull covered in a blue tarp and surrounded by barricades to protect it from vandalism. This photo was taken in June 2020, during the George Floyd protests in New York City.

New York City Department of Parks and Recreation

File:Testicles of the Charging Bull statue in New York City.jpg


Charging Bull

Prompt: Focus on Charging Bull and explain the Description.

The 7,100-pound (3,200 kg) sculpture is in a cobblestone-paved traffic median of Broadway just north of Bowling Green. The sculpture is adjacent to 26 Broadway to the east and 25 Broadway to the west. It stands 11 feet (3.4 m) tall and measures 16 feet (4.9 m) long. It depicts a bull, the symbol of financial optimism and prosperity, leaning back on its haunches and with its head lowered as if ready to charge. The sculpture is both a popular tourist destination, which draws thousands of people a day, as well as a symbol of Wall Street and the Financial District, being described as "one of the most iconic images of New York" and a "Wall Street icon." Children also frequently climb the sculpture.In Outdoor Monuments of Manhattan: A Historical Guide, Dianne Durante describes the sculpture:The Bull's head is lowered, its nostrils flare, and its wickedly long, sharp horns are ready to gore; it's an angry, dangerous beast. The muscular body twists to one side, and the tail is curved like a lash: the Bull is also energetic and in motion.The bronze color and hard, metallic texture of the sculpture's surface emphasize the brute force of the creature. The work was designed and placed so that viewers could walk around it, which also suggests the creature's own movement is unrestricted — a point reinforced by the twisting posture of the bull's body, according to Durante.Charging Bull, then, shows an aggressive or even belligerent force on the move, but unpredictably...[I]t's not far-fetched to say the theme is the energy, strength, and unpredictability of the stock market.Di Modica told the New York Daily News in 1998:That bull is one of an edition of five...I'm hoping the other four will be going to cities all over the world, whenever somebody buys them.

Category:Vandalized works of art in New York City

A poster showing a ballerina on the ''Charging Bull'' to promote the [[Occupy Wall Street

The ''Charging Bull''{{'}}s scrotum is noticeably lighter in color due to frequent rubbing.

Category:1989 establishments in New York City

Category:Outdoor sculptures in Manhattan

''Charging Bull'' covered in a blue tarp and surrounded by barricades in June 2020 during the [[George Floyd protests in New York City

File:DiModica working on Crosby St basement.png

Arturo Di Modica and his representative Jacob Harmer in Sicily, Italy, in 2017

New York City Department of Transportation

''Charging Bull'' is at the northern tip of Bowling Green.

File:Arturo Di Modica and his representative Jacob Harmer.png

Arturo Di Modica in 54 Crosby St studio where ''Charging Bull'' was conceived

United States withdrawal from the Paris Agreement

alt=Charging Bull covered in a blue tarp and surrounded by barricades to protect it from vandalism. This photo was taken in June 2020, during the George Floyd protests in New York City.

New York City Department of Parks and Recreation

File:Testicles of the Charging Bull statue in New York City.jpg


Charging Bull

Prompt: Explain the Description of this artwork, Charging Bull.

The 7,100-pound (3,200 kg) sculpture is in a cobblestone-paved traffic median of Broadway just north of Bowling Green. The sculpture is adjacent to 26 Broadway to the east and 25 Broadway to the west. It stands 11 feet (3.4 m) tall and measures 16 feet (4.9 m) long. It depicts a bull, the symbol of financial optimism and prosperity, leaning back on its haunches and with its head lowered as if ready to charge. The sculpture is both a popular tourist destination, which draws thousands of people a day, as well as a symbol of Wall Street and the Financial District, being described as "one of the most iconic images of New York" and a "Wall Street icon." Children also frequently climb the sculpture.In Outdoor Monuments of Manhattan: A Historical Guide, Dianne Durante describes the sculpture:The Bull's head is lowered, its nostrils flare, and its wickedly long, sharp horns are ready to gore; it's an angry, dangerous beast. The muscular body twists to one side, and the tail is curved like a lash: the Bull is also energetic and in motion.The bronze color and hard, metallic texture of the sculpture's surface emphasize the brute force of the creature. The work was designed and placed so that viewers could walk around it, which also suggests the creature's own movement is unrestricted — a point reinforced by the twisting posture of the bull's body, according to Durante.Charging Bull, then, shows an aggressive or even belligerent force on the move, but unpredictably...[I]t's not far-fetched to say the theme is the energy, strength, and unpredictability of the stock market.Di Modica told the New York Daily News in 1998:That bull is one of an edition of five...I'm hoping the other four will be going to cities all over the world, whenever somebody buys them.

Category:Vandalized works of art in New York City

A poster showing a ballerina on the ''Charging Bull'' to promote the [[Occupy Wall Street

The ''Charging Bull''{{'}}s scrotum is noticeably lighter in color due to frequent rubbing.

Category:1989 establishments in New York City

Category:Outdoor sculptures in Manhattan

''Charging Bull'' covered in a blue tarp and surrounded by barricades in June 2020 during the [[George Floyd protests in New York City

File:DiModica working on Crosby St basement.png

Arturo Di Modica and his representative Jacob Harmer in Sicily, Italy, in 2017

New York City Department of Transportation

''Charging Bull'' is at the northern tip of Bowling Green.

File:Arturo Di Modica and his representative Jacob Harmer.png

Arturo Di Modica in 54 Crosby St studio where ''Charging Bull'' was conceived

United States withdrawal from the Paris Agreement

alt=Charging Bull covered in a blue tarp and surrounded by barricades to protect it from vandalism. This photo was taken in June 2020, during the George Floyd protests in New York City.

New York City Department of Parks and Recreation

File:Testicles of the Charging Bull statue in New York City.jpg


Charging Bull

Prompt: How does Charging Bull explain its Description?

The 7,100-pound (3,200 kg) sculpture is in a cobblestone-paved traffic median of Broadway just north of Bowling Green. The sculpture is adjacent to 26 Broadway to the east and 25 Broadway to the west. It stands 11 feet (3.4 m) tall and measures 16 feet (4.9 m) long. It depicts a bull, the symbol of financial optimism and prosperity, leaning back on its haunches and with its head lowered as if ready to charge. The sculpture is both a popular tourist destination, which draws thousands of people a day, as well as a symbol of Wall Street and the Financial District, being described as "one of the most iconic images of New York" and a "Wall Street icon." Children also frequently climb the sculpture.In Outdoor Monuments of Manhattan: A Historical Guide, Dianne Durante describes the sculpture:The Bull's head is lowered, its nostrils flare, and its wickedly long, sharp horns are ready to gore; it's an angry, dangerous beast. The muscular body twists to one side, and the tail is curved like a lash: the Bull is also energetic and in motion.The bronze color and hard, metallic texture of the sculpture's surface emphasize the brute force of the creature. The work was designed and placed so that viewers could walk around it, which also suggests the creature's own movement is unrestricted — a point reinforced by the twisting posture of the bull's body, according to Durante.Charging Bull, then, shows an aggressive or even belligerent force on the move, but unpredictably...[I]t's not far-fetched to say the theme is the energy, strength, and unpredictability of the stock market.Di Modica told the New York Daily News in 1998:That bull is one of an edition of five...I'm hoping the other four will be going to cities all over the world, whenever somebody buys them.

Category:Vandalized works of art in New York City

A poster showing a ballerina on the ''Charging Bull'' to promote the [[Occupy Wall Street

The ''Charging Bull''{{'}}s scrotum is noticeably lighter in color due to frequent rubbing.

Category:1989 establishments in New York City

Category:Outdoor sculptures in Manhattan

''Charging Bull'' covered in a blue tarp and surrounded by barricades in June 2020 during the [[George Floyd protests in New York City

File:DiModica working on Crosby St basement.png

Arturo Di Modica and his representative Jacob Harmer in Sicily, Italy, in 2017

New York City Department of Transportation

''Charging Bull'' is at the northern tip of Bowling Green.

File:Arturo Di Modica and his representative Jacob Harmer.png

Arturo Di Modica in 54 Crosby St studio where ''Charging Bull'' was conceived

United States withdrawal from the Paris Agreement

alt=Charging Bull covered in a blue tarp and surrounded by barricades to protect it from vandalism. This photo was taken in June 2020, during the George Floyd protests in New York City.

New York City Department of Parks and Recreation

File:Testicles of the Charging Bull statue in New York City.jpg


Charging Bull

Prompt: In Charging Bull, how is the Description discussed?

The 7,100-pound (3,200 kg) sculpture is in a cobblestone-paved traffic median of Broadway just north of Bowling Green. The sculpture is adjacent to 26 Broadway to the east and 25 Broadway to the west. It stands 11 feet (3.4 m) tall and measures 16 feet (4.9 m) long. It depicts a bull, the symbol of financial optimism and prosperity, leaning back on its haunches and with its head lowered as if ready to charge. The sculpture is both a popular tourist destination, which draws thousands of people a day, as well as a symbol of Wall Street and the Financial District, being described as "one of the most iconic images of New York" and a "Wall Street icon." Children also frequently climb the sculpture.In Outdoor Monuments of Manhattan: A Historical Guide, Dianne Durante describes the sculpture:The Bull's head is lowered, its nostrils flare, and its wickedly long, sharp horns are ready to gore; it's an angry, dangerous beast. The muscular body twists to one side, and the tail is curved like a lash: the Bull is also energetic and in motion.The bronze color and hard, metallic texture of the sculpture's surface emphasize the brute force of the creature. The work was designed and placed so that viewers could walk around it, which also suggests the creature's own movement is unrestricted — a point reinforced by the twisting posture of the bull's body, according to Durante.Charging Bull, then, shows an aggressive or even belligerent force on the move, but unpredictably...[I]t's not far-fetched to say the theme is the energy, strength, and unpredictability of the stock market.Di Modica told the New York Daily News in 1998:That bull is one of an edition of five...I'm hoping the other four will be going to cities all over the world, whenever somebody buys them.

Category:Vandalized works of art in New York City

A poster showing a ballerina on the ''Charging Bull'' to promote the [[Occupy Wall Street

The ''Charging Bull''{{'}}s scrotum is noticeably lighter in color due to frequent rubbing.

Category:1989 establishments in New York City

Category:Outdoor sculptures in Manhattan

''Charging Bull'' covered in a blue tarp and surrounded by barricades in June 2020 during the [[George Floyd protests in New York City

File:DiModica working on Crosby St basement.png

Arturo Di Modica and his representative Jacob Harmer in Sicily, Italy, in 2017

New York City Department of Transportation

''Charging Bull'' is at the northern tip of Bowling Green.

File:Arturo Di Modica and his representative Jacob Harmer.png

Arturo Di Modica in 54 Crosby St studio where ''Charging Bull'' was conceived

United States withdrawal from the Paris Agreement

alt=Charging Bull covered in a blue tarp and surrounded by barricades to protect it from vandalism. This photo was taken in June 2020, during the George Floyd protests in New York City.

New York City Department of Parks and Recreation

File:Testicles of the Charging Bull statue in New York City.jpg


Charging Bull

Prompt: In the context of Charging Bull, explain the Construction and installation and the History.

The bull was cast by the Bedi-Makky Art Foundry in Greenpoint, Brooklyn. Di Modica spent $360,000 to create, cast, and install the sculpture following the 1987 stock market crash. The sculpture was Di Modica's idea. Having arrived penniless in the United States in 1970, Di Modica felt indebted to the nation for welcoming him and enabling his career as a successful sculptor. Charging Bull was intended to inspire each person who came into contact with it to carry on fighting through the hard times after the 1987 stock market crash. Di Modica later recounted to art writer Anthony Haden-Guest, "My point was to show people that if you want to do something in a moment things are very bad, you can do it. You can do it by yourself. My point was that you must be strong."Another artist, Domenico Ranieri, enlarged the model of the bull and worked with Di Modica to bring out the fine points of the sculpture. In an act of guerrilla art, Bedi-Makky Art Foundry and Di Modica trucked it to Lower Manhattan. Late in the evening of December 14, 1989, they installed it beneath a 60-foot (18 m) Christmas tree in the middle of Broad Street in front of the New York Stock Exchange Building as a Christmas gift to New Yorkers. That day, hundreds of onlookers stopped to see it as Di Modica handed out copies of a flier about his artwork.NYSE officials called police later that day, and the NYPD seized the sculpture and placed it into an impound lot. The ensuing public outcry led the New York City Department of Parks and Recreation to reinstall it two blocks south of the Exchange, in Bowling Green, facing up Broadway just north of Whitehall Street. Charging Bull was rededicated at its new location with a ceremony on December 21, 1989.

Category:Vandalized works of art in New York City

A poster showing a ballerina on the ''Charging Bull'' to promote the [[Occupy Wall Street

The ''Charging Bull''{{'}}s scrotum is noticeably lighter in color due to frequent rubbing.

Category:1989 establishments in New York City

Category:Outdoor sculptures in Manhattan

''Charging Bull'' covered in a blue tarp and surrounded by barricades in June 2020 during the [[George Floyd protests in New York City

File:DiModica working on Crosby St basement.png

Arturo Di Modica and his representative Jacob Harmer in Sicily, Italy, in 2017

New York City Department of Transportation

''Charging Bull'' is at the northern tip of Bowling Green.

File:Arturo Di Modica and his representative Jacob Harmer.png

Arturo Di Modica in 54 Crosby St studio where ''Charging Bull'' was conceived

United States withdrawal from the Paris Agreement

alt=Charging Bull covered in a blue tarp and surrounded by barricades to protect it from vandalism. This photo was taken in June 2020, during the George Floyd protests in New York City.

File:Testicles of the Charging Bull statue in New York City.jpg


Charging Bull

Prompt: Explain the Construction and installation about the History of this artwork, Charging Bull.

The bull was cast by the Bedi-Makky Art Foundry in Greenpoint, Brooklyn. Di Modica spent $360,000 to create, cast, and install the sculpture following the 1987 stock market crash. The sculpture was Di Modica's idea. Having arrived penniless in the United States in 1970, Di Modica felt indebted to the nation for welcoming him and enabling his career as a successful sculptor. Charging Bull was intended to inspire each person who came into contact with it to carry on fighting through the hard times after the 1987 stock market crash. Di Modica later recounted to art writer Anthony Haden-Guest, "My point was to show people that if you want to do something in a moment things are very bad, you can do it. You can do it by yourself. My point was that you must be strong."Another artist, Domenico Ranieri, enlarged the model of the bull and worked with Di Modica to bring out the fine points of the sculpture. In an act of guerrilla art, Bedi-Makky Art Foundry and Di Modica trucked it to Lower Manhattan. Late in the evening of December 14, 1989, they installed it beneath a 60-foot (18 m) Christmas tree in the middle of Broad Street in front of the New York Stock Exchange Building as a Christmas gift to New Yorkers. That day, hundreds of onlookers stopped to see it as Di Modica handed out copies of a flier about his artwork.NYSE officials called police later that day, and the NYPD seized the sculpture and placed it into an impound lot. The ensuing public outcry led the New York City Department of Parks and Recreation to reinstall it two blocks south of the Exchange, in Bowling Green, facing up Broadway just north of Whitehall Street. Charging Bull was rededicated at its new location with a ceremony on December 21, 1989.

Category:Vandalized works of art in New York City

A poster showing a ballerina on the ''Charging Bull'' to promote the [[Occupy Wall Street

The ''Charging Bull''{{'}}s scrotum is noticeably lighter in color due to frequent rubbing.

Category:1989 establishments in New York City

Category:Outdoor sculptures in Manhattan

''Charging Bull'' covered in a blue tarp and surrounded by barricades in June 2020 during the [[George Floyd protests in New York City

File:DiModica working on Crosby St basement.png

Arturo Di Modica and his representative Jacob Harmer in Sicily, Italy, in 2017

New York City Department of Transportation

''Charging Bull'' is at the northern tip of Bowling Green.

File:Arturo Di Modica and his representative Jacob Harmer.png

Arturo Di Modica in 54 Crosby St studio where ''Charging Bull'' was conceived

United States withdrawal from the Paris Agreement

alt=Charging Bull covered in a blue tarp and surrounded by barricades to protect it from vandalism. This photo was taken in June 2020, during the George Floyd protests in New York City.

File:Testicles of the Charging Bull statue in New York City.jpg


Charging Bull

Prompt: In Charging Bull, how is the Construction and installation of the History explained?

The bull was cast by the Bedi-Makky Art Foundry in Greenpoint, Brooklyn. Di Modica spent $360,000 to create, cast, and install the sculpture following the 1987 stock market crash. The sculpture was Di Modica's idea. Having arrived penniless in the United States in 1970, Di Modica felt indebted to the nation for welcoming him and enabling his career as a successful sculptor. Charging Bull was intended to inspire each person who came into contact with it to carry on fighting through the hard times after the 1987 stock market crash. Di Modica later recounted to art writer Anthony Haden-Guest, "My point was to show people that if you want to do something in a moment things are very bad, you can do it. You can do it by yourself. My point was that you must be strong."Another artist, Domenico Ranieri, enlarged the model of the bull and worked with Di Modica to bring out the fine points of the sculpture. In an act of guerrilla art, Bedi-Makky Art Foundry and Di Modica trucked it to Lower Manhattan. Late in the evening of December 14, 1989, they installed it beneath a 60-foot (18 m) Christmas tree in the middle of Broad Street in front of the New York Stock Exchange Building as a Christmas gift to New Yorkers. That day, hundreds of onlookers stopped to see it as Di Modica handed out copies of a flier about his artwork.NYSE officials called police later that day, and the NYPD seized the sculpture and placed it into an impound lot. The ensuing public outcry led the New York City Department of Parks and Recreation to reinstall it two blocks south of the Exchange, in Bowling Green, facing up Broadway just north of Whitehall Street. Charging Bull was rededicated at its new location with a ceremony on December 21, 1989.

Category:Vandalized works of art in New York City

A poster showing a ballerina on the ''Charging Bull'' to promote the [[Occupy Wall Street

The ''Charging Bull''{{'}}s scrotum is noticeably lighter in color due to frequent rubbing.

Category:1989 establishments in New York City

Category:Outdoor sculptures in Manhattan

''Charging Bull'' covered in a blue tarp and surrounded by barricades in June 2020 during the [[George Floyd protests in New York City

File:DiModica working on Crosby St basement.png

Arturo Di Modica and his representative Jacob Harmer in Sicily, Italy, in 2017

New York City Department of Transportation

''Charging Bull'' is at the northern tip of Bowling Green.

File:Arturo Di Modica and his representative Jacob Harmer.png

Arturo Di Modica in 54 Crosby St studio where ''Charging Bull'' was conceived

United States withdrawal from the Paris Agreement

alt=Charging Bull covered in a blue tarp and surrounded by barricades to protect it from vandalism. This photo was taken in June 2020, during the George Floyd protests in New York City.

File:Testicles of the Charging Bull statue in New York City.jpg


Charging Bull

Prompt: Describe the characteristics of the Construction and installation in Charging Bull's History.

The bull was cast by the Bedi-Makky Art Foundry in Greenpoint, Brooklyn. Di Modica spent $360,000 to create, cast, and install the sculpture following the 1987 stock market crash. The sculpture was Di Modica's idea. Having arrived penniless in the United States in 1970, Di Modica felt indebted to the nation for welcoming him and enabling his career as a successful sculptor. Charging Bull was intended to inspire each person who came into contact with it to carry on fighting through the hard times after the 1987 stock market crash. Di Modica later recounted to art writer Anthony Haden-Guest, "My point was to show people that if you want to do something in a moment things are very bad, you can do it. You can do it by yourself. My point was that you must be strong."Another artist, Domenico Ranieri, enlarged the model of the bull and worked with Di Modica to bring out the fine points of the sculpture. In an act of guerrilla art, Bedi-Makky Art Foundry and Di Modica trucked it to Lower Manhattan. Late in the evening of December 14, 1989, they installed it beneath a 60-foot (18 m) Christmas tree in the middle of Broad Street in front of the New York Stock Exchange Building as a Christmas gift to New Yorkers. That day, hundreds of onlookers stopped to see it as Di Modica handed out copies of a flier about his artwork.NYSE officials called police later that day, and the NYPD seized the sculpture and placed it into an impound lot. The ensuing public outcry led the New York City Department of Parks and Recreation to reinstall it two blocks south of the Exchange, in Bowling Green, facing up Broadway just north of Whitehall Street. Charging Bull was rededicated at its new location with a ceremony on December 21, 1989.

Category:Vandalized works of art in New York City

A poster showing a ballerina on the ''Charging Bull'' to promote the [[Occupy Wall Street

The ''Charging Bull''{{'}}s scrotum is noticeably lighter in color due to frequent rubbing.

Category:1989 establishments in New York City

Category:Outdoor sculptures in Manhattan

''Charging Bull'' covered in a blue tarp and surrounded by barricades in June 2020 during the [[George Floyd protests in New York City

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Arturo Di Modica and his representative Jacob Harmer in Sicily, Italy, in 2017

New York City Department of Transportation

''Charging Bull'' is at the northern tip of Bowling Green.

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Arturo Di Modica in 54 Crosby St studio where ''Charging Bull'' was conceived

United States withdrawal from the Paris Agreement

alt=Charging Bull covered in a blue tarp and surrounded by barricades to protect it from vandalism. This photo was taken in June 2020, during the George Floyd protests in New York City.

File:Testicles of the Charging Bull statue in New York City.jpg