Ancient art evolved dramatically from the existential realism that was witnessed during the first school of Pergamon, assuming an exaggerated emotional, artistic style that was seen in various artistic works such as the "Laocoon and his sons" as well as the "Athena Frieze on the altar of Zeus". In this transition, art witnesses artists employing expressive allegory and baroque motion to give the actors in the scenes painted and sculptured the ability to act in different environments, especially the characters' ability to act as gods.
In the “Laocoon and his sons”, which is a Hellenistic artwork, the father’s moving body is expressive of the agony and pain that he is going through ( Clack & Fowler, 1991) . The figures in this piece of art twist in space to create motion with the legs, arms, and torso moving in different directions to intensify the hidden meaning of the suffering that was inflicted by the serpents. It should be noted that Laocoon was a priest from Troy who, together with his two sons, were attacked by sea serpents sent by a god. While the details in this piece of work are not significantly brought out, the artist concentrates on creating an overemotional scene, most notably with the sense of beauty in the artwork being drowned in the terrible agony expressed by the characters. The artist in this scenario is attempting to show the extent of punishment that was meted on Laocoon as a result of breaking his celibacy oath and having sexual intercourse with his wife in the sanctuary of a god ( Clack & Fowler, 1991) . The punishment is significantly vivid such that the audience is drowned in the melodramatic expressions that the artist uses.
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Similarly, the "Great Altar of Zeus and Athena at Pergamon" is expressive of drama, expressiveness, and the love for the body inherent in the Hellenistic artwork. In this piece of art, the artist departs from existential realism of the early Pergamon art. The piece shows Athena and Zeus, a goddess and god of Olympus battling giants in the quest to gain supremacy over the universe as well as the earth. The nature of expressiveness in this artwork is at a level previously not experienced in existential realism, noting that while Athena, with her gracefulness and beauty, is pulling Alcyonous by the hair while his mother watches wild with fear since she cannot help her son. Athena’s snakes bite into Alcyonous while Nike crowns Athena for her victory.
On his part, Zeus, the king of gods, is seemingly calm and in control, fighting three giants. He also has eagles and thunderbolts to assist him. The artist melodramatically brings a sense of heroism and excitement in this work and seeks to express the Greeks' optimism and their ability to conquer their fears and chaos. Also, military victories of the Greeks over cultures they did not understand seems to be the metaphor expressed by the artist in this context ( Clack & Fowler, 1991) . Further, unlike prior art in Ancient Greek, this work departs from existential realism and sets the stage for giving the Greek actors the ability to act in varied environments. The movement of Athena towards the left while keeping her arm to the right and Alcyonous lifting of his head up in addition to twisting his shoulders and legs makes the audience to be immersed in the expressiveness of the artwork engaging them in the overemphasis on the emotions.
In the “Ceiling of the Sistine Chapel”, which is a Renaissance work, shows scenes from the book of Genesis from the story of Creation to the fall of man. In addition to the scenes from the book of Genesis, the painter puts in place an immense portrait of sibyls and prophets who prophesied the coming of the Messiah ( Shapley & Seymour, 1974) . Michelangelo makes a significant effort in showing the ability of human actors to act in different environments. It is worth noting that Michelangelo employs allegory showing the need for human beings to enter into a covenant with God noting that human beings are unable to attain divine perfection. The artwork revives neoclassical art witnessed in Pergamon with the painter making decorations of noble simplicity as well as calm grandeur.
The altar wall shows the "Last Judgment" as depicted in the book of Revelation. Michelangelo adopts a manneristic approach expressing intellectual sophistication with baroque motion as well as morbid expression. The altar wall exhibits Michelangelo’s conception of the poses and arrangement of figures in such a way to depict commotion, tension, disturbance, and excitement as well as agitation (Shrimplin & Partridge, 1998) . Human agency in these paintings is at its best with the figures exhibiting complex responses since the actors who played the role of intercessors had their role coming to an end ( Whitley, 2013) . Christ, in this painting, is seen raising his hands to display his wounds while looking down on the condemned souls. The Virgin Mary is also seemingly resigned while looking at the saved souls with the pose suggesting her intercessory role has also come to an end. The movement created in the actors is expressive of the uncertainty and possible sadness of the damned souls while the saved souls exhibit happiness.
References
Clack, J., & Fowler, B. H. (1991). Hellenistic Aesthetic. The Classical World , 84 (5), 409. doi:10.2307/4350881
Shapley, J., & Seymour, C. (1974). Michelangelo: The Sistine Chapel Ceiling. Art Journal , 33 (4), 366. doi:10.2307/775983
Shrimplin, V., & Partridge, L. (1998). Michelangelo: The Last Judgment. A Glorious Restoration. Sixteenth Century Journal , 29 (2), 503. doi:10.2307/2544528
Whitley, J. (2013). Agency in Greek Art. A Companion to Greek Art , 579-595. doi:10.1002/9781118273289.ch30
