Laocoon and Theodora, Essay Example

A comparison between the sculpture “The Laocoon Group” and the mosaic “Theodora and her Attendants” demonstrates major differences in the artists’ approach to the human body.  Primarily, “The Laocoon Group” is fascinated in the human form, as demonstrated by the attention of detail given to musculature and the figures’ overall body types and the unclothed state of the figures themselves.  There is no attempt made to hide their nudity; instead, it is celebrated in an attempt to contrast the size and strength of Laocoon and his sons with the serpent that they are fighting.  Their facial features are vividly depicted, as well, showing expressions of anguish and fear to better provide a sculptural narrative to their physical struggle.  This contrasts greatly with the Byzantine mosaic at San Vital, wherein “Theodora and her Attendants” depicts its figures in a much more subdued fashion.  A great deal of attention is paid to their clothing, which is colorful and detailed (at least in comparison to the lack of clothing in “The Laocoon Group”).  The human figure itself is hidden behind layers of clothing, demonstrating a cultural approach to the human body which seeks to conceal all of the figures’ body parts save for their hands and faces.  A major difference is found, as well, in the facial expressions of these figures, which are static and unemotional.  There is little difference to be found in the expressions on Theodora’s face as on those of her attendants, suggesting that the primary aim of the mosaic is not to tell a story–as in the case of “The Laocoon Group”–but instead to present a portrait of sorts of this historical figure.  The lack of emotion on the faces of Theodora and her attendants contrasts greatly with the emotional upheaval visible on the faces of Laocoon and his sons, demonstrating a differing approach to the expression of emotion between the Hellenistic and Byzantine eras.