Style and "Substance"Main MenuPhilosophy and the ArtsWhat can philosophy do for the arts?Ontological FractalOntological MappingArt CommentaryStudent ObservationsArchaic Eternal ReturnPresocratic ClassicalSocratic Late ClassicalPlatonicNominalist RenaissanceAneesah Ettressaef5effc74a7015f877dd59f557cf7172f5a72eaJmedina29ac3fc10003fb639ac412984b59b01a5b826e161Ian Lehineb028c384a69e4b92166e7791b002fa3f2cee5818Published by Aneesah Ettress
Pathos of Time
12017-06-14T13:27:45-07:00Aneesah Ettressaef5effc74a7015f877dd59f557cf7172f5a72ea148582plain2017-06-14T13:28:32-07:00Aneesah Ettressaef5effc74a7015f877dd59f557cf7172f5a72eaThe entire figure is twisted in motion and tension, and even beyond Laocoon himself his two sons and the serpents are all twisting, writhing and seem to capture at the pinnacle of a movement and a tension between bodies.
Contents of this annotation:
12017-03-08T15:10:54-08:00Aneesah Ettressaef5effc74a7015f877dd59f557cf7172f5a72eaLaocoon and his sons4Athenodoros and Polydorus, 200 BCE, marble, 208 × 163 x 112 cm, Vatican Museums, Vatican City, ITmedia/SCALA_ARCHIVES_1039779613.jpgplain2017-03-31T11:42:26-07:00Aneesah Ettressaef5effc74a7015f877dd59f557cf7172f5a72ea
