ARTH 372 Project 1 Part 2

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University of Maryland *

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372

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Arts Humanities

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Apr 3, 2024

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docx

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1 Project 1 Part 2: Visual Analysis/Research University of Maryland Global Campus ARTH 372 6980 History of Western Art I Stephanie Rufino October 18, 2022

2 Project 1 Part 2: Visual Analysis/Research Dying Gaul , Roman, 1st or 2nd century AD marble, Sovrintendenza Capitolina — Musei Capitolini, Rome, Italy Introduction The original Dying Gaul was believed to be created during the Hellenistic Age between 230 and 220 BCE. The sculptors of the Hellenistic Age were some of the most dramatic and emotionally aware artisans throughout history (Cassibry, 2017). As they experimented with the emotion within a scene, the figures took on the subject's personality rather than just becoming an imitation. The Dying Gaul evokes a sense of finality and tragedy that is surprising to see a victor show over a defeated enemy. It truly speaks of the incredible skill of the Hellenistic sculptors, the respect held for a defeated enemy, and their desire to evoke emotion and a sense of realism (Zucker & Harris, 2018). Subject and Visual Description The Dying Gaul depicts a man lying on his shield in the final moments of pain before

3 death. This marble recreation is Roman in origin. However, the original is believed to have been sculpted in bronze and displayed as part of a more extensive exhibit in Pergamon, a Hellenistic Greek city, as a symbol of victory over the invading Celts (Howard, 1983; Bartliff, 2015; Zucker & Harris, 2018). This piece is unique in that it must be explored in all three dimensions to understand the scene thoroughly. The Gaul is just over six feet in length and three feet high. On a level plane with the Gaul, the face is partially obscured by shadow, increasing the dark feelings of pity (Zucker & Harris, 2018). From this position, the gaze directs us toward the deadly wound in the chest, turned slightly away as if to protect or hide it. From here, the viewer can look down among the belongings on the ground and see Gaul's sword lying below him, in addition to the shield and a calling horn abandoned in front of his legs. Now looking upwards from below, we can examine the subject's face. The lips are slightly agape, the jaw slack, and the brow is creased and knitted together, appearing as a reluctant acceptance of fate (Zucker & Harris, 2018). His size, coupled with the idealism so often found in Greek sculptures, help to give him a lifelike feel as if this man is meant to be frozen in this moment of suffering forever. His body is presented twisted around to the right and down, which eliminates any sense of balance, giving the feeling that he could fall at any moment, genuinely requiring the ground to support his weight and continue to defy gravity, trying to pull him down. Hellenistic sculptors are known for experimenting with emotional and dramatic elements, aiding in bringing life to not only the subject of the piece but also the scene that the work shows (Howard, 1983). There is respect paid to their enemy by depicting them nude (Bartliff, 2015; Zucker & Harris, 2018). This ties into how the Celtic warriors fought and showed that the Hellenistic Greeks could still see the divine beauty of the gods within their enemies (Bartliff, 2015; M.L., 2015).

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