Book contents
- Frontmatter
- Contents
- Translator's Acknowledgments
- Introduction
- On Art
- Thoughts on the Imitation of Greek Works in Painting and the Art of Sculpture
- Open Letter on Thoughts on the Imitation of Greek Works in Painting and the Art of Sculpture
- Explanation of Thoughts on the Imitation of Greek Works in Painting and the Art of Sculpture and Response to the Open Letter on These Thoughts
- More Mature Thoughts on the Imitation of the Ancients with Respect to Drawing and the Art of Sculpture
- Description of the Most Excellent Paintings in the Dresden Gallery
- Reflections on Art
- Recalling the Observation of Works of Art
- On Grace in Works of Art
- Description of the Torso in the Belvedere in Rome
- Treatise on the Capacity for Sensitivity to the Beautiful in Art and the Method of Teaching It
- On Architecture
- On Archaeology
- Notes
- Select Bibliography
Description of the Torso in the Belvedere in Rome
from On Art
Published online by Cambridge University Press: 05 March 2014
- Frontmatter
- Contents
- Translator's Acknowledgments
- Introduction
- On Art
- Thoughts on the Imitation of Greek Works in Painting and the Art of Sculpture
- Open Letter on Thoughts on the Imitation of Greek Works in Painting and the Art of Sculpture
- Explanation of Thoughts on the Imitation of Greek Works in Painting and the Art of Sculpture and Response to the Open Letter on These Thoughts
- More Mature Thoughts on the Imitation of the Ancients with Respect to Drawing and the Art of Sculpture
- Description of the Most Excellent Paintings in the Dresden Gallery
- Reflections on Art
- Recalling the Observation of Works of Art
- On Grace in Works of Art
- Description of the Torso in the Belvedere in Rome
- Treatise on the Capacity for Sensitivity to the Beautiful in Art and the Method of Teaching It
- On Architecture
- On Archaeology
- Notes
- Select Bibliography
Summary
I provide here a description of the famous torso in the Belvedere, which is generally called the Torso of Michelangelo, because this work was especially highly regarded by Michelangelo, and he made many studies of it. As is well known, it is a mutilated statue of a seated Hercules, and the master who made it is Apollonius, the son of Nestor of Athens. This description only concerns the ideal represented by the statue, especially because it is ideal in its conception. And it is one work from a similar description of several statues.
The first work I applied myself to in Rome was describing the statues in the Belvedere, namely the Apollo, the Laocoon, the so-called Antinous, and this torso, as the most prefect examples of ancient sculpture. The presentation of each statue was intended to be in two parts: the first concerning its ideal aspect, and the second its artistic qualities. And it was my intention to have the works themselves drawn and engraved by the best artist available. This enterprise was, however, beyond my means, and would depend on advances provided by generous enthusiasts. So that is why this draft, over which I have pondered much and for a long time, has remained unfinished, and the present description still requires some final touches.
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- Johann Joachim Winckelmann on Art, Architecture, and Archaeology , pp. 143 - 148Publisher: Boydell & BrewerPrint publication year: 2013