Explore the Hellenistic use of art as propaganda, using Lysippos’ likeness of Alexander the Great and Epigonos’ Dying Gaul as primary examples

Please provide the best answer for the statement.

1. The emotional drama of Greek theater and the sensory appeal of its music reveal a growing tendency in the culture to value emotional expression. In many ways, the ascendancy of this new aesthetic standard can be attributed to the power of Alexander the Great. During Alexander’s lifetime, but especially after his death, sculptures celebrating him abounded, almost all of them modeled on originals sculpted by Lysippos, whom Alexander hired to do all his portraits, embodying his “greatness” as a conscious act of propaganda. Lysippos dramatized his hero, showing him in the midst of action, and probably idealized him as well.
2. As with portraits of Alexander, the primary purpose of the sculptural program at Pergamon, seat of the Attalids, inheritors of Alexander’s fortunes, was to advertise the military might and glory of the regime. When Attalos I defeated the Gauls, a group of “barbarian” central European Celts, around 240–230 BCE, he commissioned three life-size figures to decorate the sanctuary of Athena Nikephoros (the “Victory-bringer”) on the Akropolis at Pergamon. Possibly the work of the sculptor Epigonos, these figures include The Dying Gaul, a brutally realistic portrait of a vanquished Gaul dying from a wound that bleeds profusely below his right breast. The emotional immediacy of the portrait engages the viewer and suggests the heroism and humanity of the defeated enemy—thus, perhaps, magnifying the scale of Attalos’ victory over the Gallic people.