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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.
Grotesque at Notre-Dame Cathedral. Bridaham, in his book Gargoyles, Chimeres, and the Grotesque in French Gothic Sculpture, pointed out that the sculptors of the gothic cathedrals in the twelfth and thirteenth centuries were tasked by the Pope to be "preacher[s] in stone" to the illiterates who populated Europe at the time. It fell to the ...
[7] At times the painting was popular, mainly due to the grotesque nature of the biblical scene, but also because of the artist's gender. [7] Yet when the painting was sold by Signora Saveria de Simone in 1827, it was sold as a work of Caravaggio. [10] This confusion shows Gentileschi's dedication as a caravagistta.
Art critics debate whether his paintings were whimsical or the product of a deranged mind. [8] A majority of scholars hold to the view, however, that given the Renaissance fascination with riddles, puzzles, and the bizarre (see, for example, the grotesque heads of Leonardo da Vinci ), Arcimboldo, far from being mentally imbalanced, catered to ...
The triptych was not particularly well-preserved; the paint of the middle panel especially had flaked off around joints in the wood. [52] However, recent restoration works have managed to recover and maintain it in a very good state of quality and preservation. [68] The painting usually is on display in a room with other works by Bosch. [69]
View of the Isenheim Altarpiece, Nikolaus Hagenauer and Matthias Grünewald, c 1512–1516. The Isenheim Altarpiece is an altarpiece sculpted and painted by, respectively, the Germans Nikolaus of Haguenau and Matthias Grünewald in 1512–1516. [1]
Saturn Devouring His Son is a painting by Spanish artist Francisco Goya. The work is one of the 14 so-called Black Paintings that Goya painted directly on the walls of his house some time between 1820 and 1823. [1] It was transferred to canvas after Goya's death and is now in the Museo del Prado in Madrid.
The sculpture was not received well by the critics; Rodin took the negativity as a personal attack. Many disliked the grotesque stature of the figure while others criticized the work as too similar to that of the Italian impressionist Medardo Rosso. As well, reports surfaced before the unveiling of the sculpture regarding anticipated dismay ...
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