Expert: Jeni Andrews-Fraser - 10/19/2007

Question
QUESTION: how does the dying gaul enable empathy by applying and extending beyond greekartistic practices?

ANSWER: Hello Isabel - and thank you for your question.  I think this sounds like a homework assignment - and I am not prepared to do your work for you.  Further, it is not entirely clear what you are asking.  What do you mean 'enable empathy by applying and extending beyond Greek artistic practices'?  This is not answerable in its current form.  If your question is about Greek sculpture - and Hellenistic sculpture in particular (since the Dying Gaul is representative of that style) then I am at a loss to understand what can be explored 'beyond Greek practices.'  By whom, for whom, when ... in sculpture or other art forms ... depicting what ... ???

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QUESTION: I dont know if the comment i sent was delivered to you, but i had said thank you for trying to help me.That question was a homework question, and like you i feel lost because I cant answer it or rather i do not know how to answer this question.

Answer
Hi Isabel - yes, I got your reply (and the kind comments you left - thank you very much!)  I'm still of the opinion that your tutor is asking you to respond to a nonsensical question and that you need to clarify exactly what s/he wants.  If you need a starting place with this sculpture, then look for Hellenistic sculpture (art history resources on the web is a good place to begin: copy this link into your search engine http://witcombe.sbc.edu/ARTHLinks.html).  I suppose you could also begin by characteristic Greek sculpture (perhaps this is what your teacher means by artistic practices- ?); Hellenstic sculpture moves beyond the restrained Classical (serene, expressionless (no emotion) and refined representations) to images containing drama, pathos, movement and extremes.  The Dying Gaul is a figure of a defeated, wounded Gaul (France), 'nobly' watching his life-blood spill out.  Here's a quote from a sculpture site regarding this piece:  "The moustache, matted hair and twisted collar identify the warrior as a barbarian. He supports himself on one arm as his strength ebbs away.  With the realism characteristic of Hellenistic art, his skin appears hard and dry, the muscles heavy in contrast to the ideal Greek type. Blood oozes from the open wound. However, the sculptor introduces these realistic touches with artistic restraint. It is a concept that goes beyond physical pain to speak of the anguish of defeat which destroys the spirit rather than the flesh."  A Classical sculptor would never have carved such an image.  Hellenstic sculpture would have seemed daring, innovative and quite startling to comtemporary audiences.  See also: the Laocoon, a Gallic Chieftain, the sculptures from the Pergamon Temple, the Venus de Milo etc.  Good luck.