An Analysis of Laocoön and His Sons

“Laocoon and His Sons” displayed in the Museo Pio Clementino of the Vatican Museums in Rome, Italy (Photo: IR Stone via Shutterstock)

Introduction

Laocoön and His Sons, also known as the Laocoön Group, follows the story of the Trojan priest Laocoön and his sons. After warning the city of Troy of the ruse of the Trojan horse, Laocoön receives severe punishment from a sea serpent sent by the gods, who favored the Greeks. History has cemented the sculpture as one of the most influential pieces of Hellenistic art, being one of the most studied, copied works of ancient art. The statue transformed the landscape of Renaissance art, especially for sculptors. The sculpture has influenced the works of renowned artists such as Michangelo, who, according to the website visual-arts-cork.com, was present during the 1506 excavation of Laocoön and His Sons at Rome vineyard owned by Felice de' Fredis.

Experts have identified the sculpture as a Hellenistic artwork made in the early first century C.E. Rome. Although uncertain, art Historians, according to smarthistory.org, believe the exact date of creation was between 42 - 20 BCE. The statue is made of marble and is approximately eight feet tall. The sculpture is currently on display in the Vatican museum in Rome. The book "Gardner's Art Through the Ages: A Global History, Volume I" by Fred S. Kleiner states that a Roman author named Pliny credited three sculptors in the creation of Laocoön and His Sons. Pliny credited Athanadoros, Hagesandros, and Polydoros of Rhodes as the artists. Some people theorize that another Hellenistic sculpture of Laocoön constructed of bronze inspired the one made of marble. Information provided by visual-arts-cork.com on Laocoön and His Sons also stated the sculpture, upon discovery, was separated into seven pieces, and Laocoön’s right arm was missing. Later on, in 1906, archeologist Ludwig Pollack located the arm in a builder's yard in Rome. The original sculpture is believed to have only featured one son, the son to Laocoön’s left suspected of being the addition. However, Kleiner’s book states that Roman poet Vergil described Laocoön as having two sons.

Elements

Hellenistic sculpture explored the depths of human emotion and expression as opposed to the classical period, which desired to show the peak of human perfection. Hellenistic art often employed theatrical drama to communicate the artist’s message. Laocoön and His Sons embody the passion of Hellenistic sculpture.

The use of line helps emphasize the undeniable terror in their expressions as Laocoön’s torso curves to the left, head and arm thrown back in agony as his right hand desperately attempts to stop the snake from delivering its venomous bite. The sculptor employed the rule of thirds: allowing the eye of the observer to travel along the contorted body of the snake. Our gaze naturally moves from the left to the right and settles upon the tight hold on the son on the left, who lays delicately and helplessly near his Laocoön’s thigh. The terrified glance of the son to the left brings us to look at the nearly escaped son on the right, who has folded in a desperate attempt to remove the snake. The son on the right helps direct the viewer to the moment the snake attacks. The fearful stares and pleading look in Laocoön’s son’s gazes lead the audience toward the center and emphasize Laocoön’s helplessness.

Although stylized theatrically, the shapes in this sculpture are organic. They are elegant yet powerful. The artist draws attention to Laocoön’s defined muscular body; the caved in forms of himself and the son on the right provide depth to the sculpture, making it appear more three-dimensional. The fluidity of movement in this sculpture captures the light in such a way to highlight the godly nature of the sculpture’s back story.

In this artwork, textures are present in the hair as well as the fabric draped about the scene. The fluid draped layers of the fabric add realism and depth. Deep lines emphasize the wild curl of Laocoön’s hair, which flies back, cascading gently down his shoulders. The distinct strings of the hair add freedom. The wrinkles in his forehead and the upturn of the brow deepen the intensity of his despair. The textures are not so harsh that the sculpture appears unapproachable. There is a softness to the smoothness of the skin. The delicateness of both humans and the snake contribute to a tragic beauty.

Reaction

Laocoön and His Sons is a delightfully intriguing sculpture. I do not sculpt as I am not very talented in that area, so I find people who can carve these amazingly detailed depictions of the human body or various objects incredible. Even though the sculpture is theatrical, movement and expression are abundant, which draws me to it. I find realism, neoclassic, and surrealist art, to name a few, especially engaging because of how emotional it can be. When I take in a piece of art, be it musical, visual, or performance, I want to feel something. Which is one of the first things I think about when creating. The progression of Hellenistic sculpture shows intentional evolution from the stiff geometric shapes of the archaic period and the glorification of perfection in the Classical period. I adore the unashamed dramatic nature of the undeniably human Hellenistic period.

 When I look at Laocoön and His Sons, I feel excited because the sculpture is brimming with unrestrained expressiveness. Before researching the story behind this piece, I had created theories in my head. I made up stories pondering as to what the back story may be. There is a great deal of agony in it. You can see the struggle and desperation in the body's curvature, the way their heads are thrown back, and even in the curl of the toes. Their horror makes everything feel real. Any person would freak out if they were being sentenced to death and then attacked by a giant venomous snake. The use of lines is interesting to me. It is so simple the way his children look to their father for help, and as a viewer, you cannot help but be drawn to Laocoön and feel sympathy or dread for him and his family. The way in which the snake can curve around them and tell such a tragic story is fascinating.

Biography

Kleiner, Fred S. “Gardner's Art through the Ages A Global History, Volume I 15e 15th.” UniBookMaster, unibookmaster.com/product/ebook-gardners-art-through-the-ages-a- global-history-volume-i-15e 15th/?gclid=CjwKCAjwhOD0BRAQEiwAK7JHmMbnpCkGAdAqrk9vKpNyMmtMaL ToZhVQqOaB5QuPzfXK0KA1ahP4LRoC7bQQAvD_BwE.

 “Laocoon and His Sons (C.42-20 BCE).” Laocoon and His Sons, Greek Statue: History, Interpretation, www.visual-arts-cork.com/sculpture/laocoon.htm.

Zucker, Steven, and Beth Harris. “Athanadoros, Hagesandros, and Polydoros of Rhodes, Laocoön and His Sons.” Smarthistory, smarthistory.org/athanadoros-hagesandros-and-polydoros-of-rhodes-laocoon-and-his-sons/.