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Grotesque studies, Michelangelo Since at least the 18th century (in French and German, as well as English), grotesque has come to be used as a general adjective for the strange, mysterious, magnificent, fantastic, hideous, ugly, incongruous, unpleasant, or disgusting, and thus is often used to describe weird shapes and distorted forms such as Halloween masks.
Grotesques also were a key feature of medieval architecture. As the Middle Ages were often referred to as “the age of faith,” [17] religious institutions were hugely important and heavily decorated. Grotesques played a key role in this adding often humorous and subtly subversive touches to these institutions of faith.
Gargoyles of Notre-Dame de Paris Dragon-headed gargoyle of the Tallinn Town Hall, Estonia Gargoyle of the Vasa Chapel at Wawel in Kraków, Poland. In architecture, and specifically Gothic architecture, a gargoyle (/ ˈ ɡ ɑːr ɡ ɔɪ l /) is a carved or formed grotesque [1]: 6–8 with a spout designed to convey water from a roof and away from the side of a building, thereby preventing it ...
Numerous grotesques and gargoyles adorn the exterior, most of them designed by the carvers; one of the more famous of these is a caricature of then-master carver Roger Morigi on the north exterior of the nave. There were also two competitions held for the public to provide designs to supplement those of the carvers.
The Sacro Bosco ("Sacred Grove"), [1] colloquially called Park of the Monsters (Parco dei Mostri in Italian), also named Garden of Bomarzo, is a Mannerist monumental complex located in Bomarzo, in the province of Viterbo, in northern Lazio, Italy.
The great series of Grotesques (illustration, left) initiated in the 1690s became a mainstay of Beauvais production, woven through the Régence. The cartoons, which were inspired by the engravings of Jean Bérain the Elder and were carried out to cartoons by Jean-Baptiste Monnoyer , a painter attached to the Gobelins factory, were based on ...
Grotesque No. 9 reached phototypesetting and Letraset dry transfer lettering and, unlike many of the other Stephenson Blake Grotesques, has been digitised in several releases. [ 27 ] In the United States Roger Black , a prominent publication designer, discovered it in 1972 from a Visual Graphics Corporation phototypesetting catalogue, and came ...
Cornelis Massijs was also known for his drawings of grotesques and ornamental designs. He made a few portraits, among them his engravings of Peter Ernst I von Mansfeld-Vorderort and his wife and of Henry VIII engraved in 1544 and printed in 1548, which are the main reasons why it is assumed Cornelis spent time in Germany and England. [5]