Laocoön and His Sons
Laocoön and His Sons

Laocoön and His Sons

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Laocoön is a figure in Greek legend, and the inspiration for a beautiful sculpture in the Vatican Museums. And that work of art has been on quite a journey through time.  Research: “ANN: Archaeologist and art dealer Ludwig Pollak and his family to be remembered by memorial stones.” Art Market Studies. Jan. 7, 2022. https://www.artmarketstudies.org/ann-archaeologist-and-art-dealer-ludwig-pollak-and-his-family-to-be-remembered-by-memorial-stones-rome-piazza-santi-apostoli-81-22-jan-2022-930am/ Tracy, S. V. “Laocoön’s Guilt.” The American Journal of Philology, vol. 108, no. 3, 1987, pp. 451–54. JSTOR, https://doi.org/10.2307/294668. Darwin, Charles. “The Expression of the Emotions in Man and Animals.” 1872. Accessed online: https://brocku.ca/MeadProject/Darwin/Darwin_1872_07.html The William Blake Archive. “LAOCOÖN (COMPOSED C. 1815, C. 1826-27).” http://www.blakearchive.org/work/Laocoön Richman-Abdou, Kelly. “All About ‘Laocoön and His Sons’: A Marble Masterpiece From the Hellenistic Period.” My Modern Met. January 9, 2019. https://mymodernmet.com/Laocoön-and-his-sons-statue/ Virgil. “The Aeneid Book II.” Poetry in Translation. https://www.poetryintranslation.com/PITBR/Latin/VirgilAeneidII.php#anchor_Toc536009309 Ludwig, Wolfgang. “Der dritte Arm des Laokoon.”   Weiner Zeitung. Nov. 7, 2021. https://www.wienerzeitung.at/nachrichten/kultur/kunst/2111677-Der-dritte-Arm-des-Laokoon.html Rudowski, Victor Anthony. “Lessing Contra Winckelmann.” The Journal of Aesthetics and Art Criticism, vol. 44, no. 3, 1986, pp. 235–43. JSTOR, https://doi.org/10.2307/429733 “Cast of Laocoön and his Sons (Roman version of a lost Greek original), c.100BC-50AD.” https://www.royalacademy.org.uk/art-artists/work-of-art/Laocoön-and-his-sons-roman-version-of-a-lost-greek-original Squire, Michael. “Laocoön among the gods, or: On the theological limits of Lessing’s Grenzen’, in A. Lifschitz and M. Squire (eds.), Rethinking Lessing’s Laocoön: Classical Antiquity, the German Enlightenment, and the ‘Limits’ of Painting and Poetry.” Ox

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