Legends of Greek classics have been explored in art through centuries, yet there is something special about the story of Hercules and Antaeus. In this section, we keep the exploration along the timeline.

The next three statuettes were all made during the 16th century. Interestingly, in all three cases, Antaeus is hold at much higher position than in Pollaiuolo’s work. Usually, Hercules lifts Antaeus up so that the giant's buttocks are near or touching the hero's genitals, but in these works Antaeus is lifted so high that the violence, which can be sensed more through horizontal body movement is much more restrained.

Antico (or Pier Jacopo di Antonio Alari-Bonacolsi) was court sculptor to the Gonzaga family, then rulers of Mantua in Italy. He trained as a goldsmith and developed a sophisticated method of reproducing bronzes.

Although by estimation, the work was finished only about 25-35 years later after Pollaiuolo’s work. Antico narrated the story from a totally different perspective. If violence can be used to summarize Pollaiuolo’s, then melancholy is what touches viewers with its immediacy and un-ambiguity. In this statuette, Antaeus is dying, with his body and head dangling in the air. Hercules, who was cast in a more masculine and bigger scale, holds the victim quietly and even may actually gently lower down the body. Although effort can still be sensed from his tipped right foot, his upper body is relaxed, arms loose. Heurcules here is not equipped with a club or wearing lion skins. The exposure of both male genitals indicates the artist’s intention to scale down the overpowering capability both men have possessed.

Even if one could resist the temptation of interpreting the gentle body contact of two males as a metaphor of homosexuality, he cannot deny Antico’s preference of beauty against violence. Here Antico made it clear his perception of Greek gods: they are human beings, both beautiful, one stronger, the other weaker. It is not a story about victory, but of tragedy and sympathy. Antaeus’ over-confidence and desire of honoring his father Poseidon may cost his life, but Hercules, having nothing to claim proudly, sees off a youthful life involuntarily and sadly, as do the viewers.

Jean Boulogne (1529-1609)’s work was estimated to be finished near the end of the 16th century. He was born in Douai in 1529, in what was then Flanders. As a fourteen-year old he was apprenticed to the sculptor Jacques Dubroecq. Having completed his apprenticeship, at twenty he left for Rome, to study the famous works of the Renaissance and classical antiquity. Therefore, it is not surprising that his statuette bears the same anger and struggle as shown in Pollaiuolo’s although violence has been reduced. On the other hand, Boulogne’s work shares more similarity with the one made in 16th century from Willem van Tetrode (1525-1580). In these two works, the physical difference between Hercules and Antaeus is not obvious. More importantly, the action is exposed in such a way that the tension is breathless but the match non-brutal. Holding and Leveraging are common techniques in Ancient Greek wrestling. Here in both works, Hercules is hold antaeus high enough to use his shoulder/head as the balance point of leverage. Antaeus, without stationing himself on the ground firmly, could not channel his strength efficiently against Hercules, thus a defeat is inevitable even from a tactic point of view, not to mention his spiritual support is also wearing out.

Bonus: A Broze statuette made in 16th century by an unknown Italian artist.

Also at the Toledo Museum of Art and the Carnegie Museum of Art

Legends of Greek classics have been explored in art through centuries, yet there is something special about the story of Hercules and Antaeus. First two males are involved, both of whom are so masculine that they are almost invincible until one has to prove to be even stronger than the other. Secondly, nudity is a natural part of Greek athletics (although in some cases Hercules may wear lion skin or be armed with a club). The flesh of beefy males can be expressed and experienced directly and entirely. Lastly, here comes a wrestling match, which provides the opportunity of and necessitates the physical contact in great tension. Those gripping hands, distorted body forms, and angry faces explore the extremity of human nature at the climax of the action. Sculptors, in particular, love the story and a numerous sculptures have been created. It is of great interest to compare the works from different artists and hence obtain some insights into individual artistic styles.

The bronze statuette made by Antonio Pollaiuolo is probably at least one of, if not the most famous works about Hercules and Antaeus. The statuette was made circa 1475, in the Bargello of Florence.

The integration of motifs from classical sculpture and mythology into the contemporary interests naturally found its niche in Renaissance period when art focuses on bodies and minds of human beings. Hercules, in particular, shone his glory in Florence intimately because he was the protector of Florence.

Meanwhile, from Renaissance period realism and idealism began to be applied onto the human bodies. It was reported that Pollaiuolo carried out dissections in order to gain better understanding of human anatomy.

What differs Pollaiuolo from his contemporaries and even his student Botticelli is that the former is a master of human body in MOTION. His tempera paintings of “Apollo and Daphne” and “Hercules and the Hydra” (which was possibly painted in the same year of the statuette) show his profound knowledge of muscle contraction under different strenuous actions. It is no surprise that he was fond of such a topic which enabled him unbridled exploration of human body and form. (Besides this statuette, he made a tempera painting of the same topic in around 1478.)

However, it is still refreshing, almost stunning to look at Pollaiuolo’s work which was made more than 500 years ago. In “Hercules and Antaeus”, he not only excelled in what he is famous for but also masterfully associated body forms with expressions and emotions. The work gives the most exaggerated body form to Antaeus in history. The elevated right leg, the distorted left arm plus the lifted head form a big arc, purporting an eagerness of floating and freedom while he is suspended in the air.

Antaeus’ facial expression makes it obvious the desperate effort he is exerting for the last chance of survival. No matter what exact word he is uttering from his wide-open mouth, viewers can immediately sense his life will soon be gone in this cosmic human violence.

Interestingly, unlike later works, Hercules does not stand effortlessly straight. Instead he firmly separated his legs to support the massive weight from his upper body, which has been forced to lean backward. Thus a complimentary body arc is established from Hercules, fulfilling both aesthetic and narrative purposes.

Pollaiuolo took advantage of the lion skin, a prize from the first of 12 Hercules’ labors, to balance the statuette. Without the solidity of lion skin, Hercules might seem unstable and who is up to grab victory would be unclear to viewers.

The genitals of both Hercules and Antaeus are not exposed since they are confronted face to face at the moment. Yet strikingly the two, are not communicating, even though flesh are gripping against each other almost inseparably. NO direct look is essential in the success of the works: it allows artists to describe violence without touching human feelings toward cruelty or sympathy.

Lastly, although Pollaiuolo may have created the most startling body language for Antaeus, he has prepared the most merciful way for his death. According to one version of the story, Antaeus becomes as weak as water when lifted. In Pollaiuolo’s interpretation, Antaeus, the son of the goddess of earth, does not die of strangulation; instead he dies of loss of his spiritual support. Hercules, calmly, almost in a detachment manner, claims his victory through his immense strength and mental independency.