Essays on the Anatomy of Expression in Painting
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| It was republished in 1890 as ''The anatomy and philosophy of expression as connected with the fine arts''. | It was republished in 1890 as ''The anatomy and philosophy of expression as connected with the fine arts''. | ||
| - | In a remarkable passage, Bell claims that the male figure in ''[[Laocoön and His Sons]]'' could not have produced a roar, as Virgil proposed in his poem the ''[[Aeneid]]''. | + | In a remarkable passage, Bell claims that the male figure in ''[[Laocoön and His Sons]]'' could not have produced a roar, as Virgil proposed in his poem the ''[[Aeneid]]'' and must have "suffered in silence". |
| :"that most terrible silence in human conflict, when the outcry of terror or pain is stifled in exertion; for during the struggle with the arms, the chest must be expanded or in the act of rising; and therefore the voice, which consists of the expulsion of the breath by the falling or compression of the chest, is suppressed. The first sound of fear is in drawing, not expelling, the breath." | :"that most terrible silence in human conflict, when the outcry of terror or pain is stifled in exertion; for during the struggle with the arms, the chest must be expanded or in the act of rising; and therefore the voice, which consists of the expulsion of the breath by the falling or compression of the chest, is suppressed. The first sound of fear is in drawing, not expelling, the breath." | ||
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Essays on the Anatomy of Expression in Painting (1806) is an essay by Charles Bell. It was the first treatise on notions of anatomy and physiology of facial expression for painters and illustrators.
It was republished in 1890 as The anatomy and philosophy of expression as connected with the fine arts.
In a remarkable passage, Bell claims that the male figure in Laocoön and His Sons could not have produced a roar, as Virgil proposed in his poem the Aeneid and must have "suffered in silence".
- "that most terrible silence in human conflict, when the outcry of terror or pain is stifled in exertion; for during the struggle with the arms, the chest must be expanded or in the act of rising; and therefore the voice, which consists of the expulsion of the breath by the falling or compression of the chest, is suppressed. The first sound of fear is in drawing, not expelling, the breath."
Bell concludes that "Laocoon suffers in silence", because the sculptor's design was "to represent corporeal exertion, the attitude and struggles of the body and of the arms", an act which would have prevented a roar and permitted nothing more than "a low or hollow groan". (William Schupbach)
