Be on the lookout for your Britannica newsletter to get trusted stories delivered right to your inbox. The Laocoön is an oil painting created between 1610 and 1614 by Greek painter El Greco. One son lies dead behind him.

The statue was for a time in the palace of the Emperor Titus (ad 79–81). El Greco's depiction is a dark one, less classically influenced and trapped by the low clouds he often depicted over his adopted city of Toledo, Spain. West Building

Obraz jest jedynym dziełem El Greca, poruszającym tematykę mitologiczną. Hurling his spear at it, he implored the Trojans not to pull the horse into the city. While classical in subject, Laocoön reflects the political, religious, and artistic transformations of post-Renaissance society.

An unfinished figure consisting only of a head and leg also appears on the right. . Corrections? A much better-known reason for his punishment was that he had warned the Trojans against accepting the wooden horse left by the Greeks.
We do not know whether the fallen youth is mortally wounded by the serpent, or already dead. During the Greek seige of Troy, it was the Laocoön that mistrusted the now infamous Greek horse. According to Greco-Roman mythology, Laocoön was a figure in the Trojan War waged between the Achaeans (Greeks) and Trojans. Learn more. 28 March 2010. El Greco, Christ Cleansing the Temple, probably before 1570, oil on panel, Samuel H. Kress Collection, 1957.14.4. The image is in the … Kapłan leży pośrodku, walczy z wężem, który próbuje ukąsić starca.

He lived and worked in his adopted home of Toledo until his death in 1614, after which his son took over the workshop. Laocoön attempted to warn his compatriots that the horse was a "deadly fraud" instead of a gift, but the Trojans did not heed the warning. After its rediscovery during the Renaissance, it regained its exalted reputation, inspiring Gotthold Lessing’s famous essay on art, Laocoon (1766). . Piotra. Other works by El Greco: View of Toledo, c. 1600 Works by other artists: Agesander, Athenodoros and Polydorus, Laocoön and His Sons, c. 160-20 BCE: The mythological story of Laocoon was celebrated in … In his haunting painting Laocoön, El Greco depicts a violent Greek myth as if it had taken place in his adopted city of Toledo, Spain. It lives at the National Gallery of Art, Washington in the United States. Flanking the scene on the right are Apollo and Artemis, who watch the grisly scene unfold. In Toledo, El Greco honed his eclectic style, becoming a leading artist in the Mannerist movement and inaugurating the Spanish artistic Renaissance. Notoriously prickly and outspoken, El Greco reportedly offended influential Romans after declaring that the city’s much-beloved Michelangelo did not know how to paint.

After his initial training as a Byzantine icon painter in his homeland Crete, El Greco studied in Venice and Rome, where he experimented with the Venetian "colorito" and Renaissance compositional techniques. But the god's were on the side of Greece, and the Laocoön's warning earned him and his sons a cursed death by sea-snake. The image is in the Public Domain, and tagged Fear, Death in Art and Greek and Roman Mythology. The distorted figures, with their murky yellow and green coloration, infuse the scene with a sense of suffering and turmoil. and in the Laocoön statue (now in the Vatican Museum) attributed by Pliny the Elder to three Rhodian sculptors, Agesander, Polydorus, and Athenodorus. Przy tych samych pracach odsłonięto płócienne opaski domalowane po śmierci malarza, zasłaniające genitalia dwóch skrajnych aktów. The goddess Minerva, who favored the Greeks, avenged his action by sending two serpents to kill the priest and his two sons. According to legend, he had profaned the temple of the god; and additionally, he had incurred the wrath of Athene for having warned the The high horizon line and the standing figures at the ends of the painting create a vertical composition.
El Greco portrays the city Toledo as a world of suffering, using color to create a sense of doom. The harsh lighting, heightened by the dark paint outlining the bleached bodies’ contours, plainly exposes the men’s plight and imparts a flickering, spectral quality to their freely painted flesh. In the painting, the Trojan horse moves towards the city, a reminder of Laocoön's failed attempt to convince his countrymen of the trap.

[5] However, El Greco moved to Spain in 1576, and he settled in Toledo in 1577 as a church painter.