21.11.10

Coquelin

Claire Papon, Quai des orfèvres, Gazette-Drouot, France, 2006.

Au centre d’une vente classique, cette plaque de lumière est l’une des rares pièces de forme d’orfèvrerie civile du début du XVIIe siècle.


Antoine Coquelin, Applique en argent fondu, forgé, repoussé et ciselé, Paris, 1622-23

Bien des points demeurent obscurs concernant les orfèvres, malgré l’existence des poinçons. Ceux-ci sont souvent muets, car illisibles, incomplets ou, bien sûr, non identifiés. Tel n’est pas le cas de cette applique : sa marque nous indique une oeuvre d’Antoine Coquelin, reçu maître à Paris en 1610, établi sur le Pont-au-Change et dont une patène et un calice sont conservés dans une église de l’Eure. Cette pièce est probablement née d’une commande d’un amateur, venu avec le dessin de la plaque proprement dite, et faisait sans doute partie d’une paire, voire d’une série. La composition – aux formes libres et asymétriques du style auriculaire répandu en Flandres et en Angleterre – se retrouve dans une planche gravée par l’Anversois Pierre Furens, installé à Paris au début du XVIIe. Quant au créateur du motif, il s’agit d’un Italien dont la carrière fut internationale : Federico Zuccaro (1540-1609). Antoine Coquelin réalise donc en métal précieux l’ornement central sur les instructions de son client et ajoute le bras, sur lequel est fixé le binet supportant la bougie et la coquille de la partie supérieure, qui sert elle aussi à renvoyer la lumière. Nous n’en sommes en effet qu’aux balbutiements des accessoires d’éclairage, l’usage de la torche n’est pas bien loin. Bras, plaques et appliques se répandent en ce tout début du XVIIe siècle, ainsi que les girandoles, bougeoirs, chandeliers et même lustres d’argent. Autant d’objets en parfaite harmonie avec le mobilier d’argent en vogue à l’époque. Les plaques sont les plus nombreuses et les plus caractéristiques, mais elles ne se rencontrent que chez les grands personnages.

17.11.10

The Cute and The Creepy


The drawings of Yuka Yamaguchi are delicate yet disturbing. Much of them are biographical and very personal. With her coloured pencil and ballpoint pen drawings, Yamaguchi shares intimate details with the viewer.
Born in Japan, Yamaguchi considers her drawings are inward-looking, reaching both extremes of the cute and the grotesque.
Gazzola says Yamaguchi's work blurs the line between humour and horror, indicating that "some works incorporate both of these seemingly disparate concepts," eg., Inseparable [2006], where a cute, pre-teen couple are tying themselves together by their respective hanging tendons and muscles, which hang in ribbons from their severed calves. Both are smiling, and seem pleased with the arrangement, and I am reminded of the Japanese horror film Audition, which was really a love story, with the classic admonition that "you must love only me."[1]


A self-taught artist, but with a degree in Social Work, Yamaguchi has been aiming to turn "everything around you cute and fun."[2] But the cute and fun components of her drawings coexist with others suggesting cruelty. A sense of humor is also present in the work, although such humor is chiefly black. A case in point is All I Can See (2006), a memorable image, which is at once funny and creepy.[3]

"In my drawing," writes Yamaguchi, "a boy is having breasts sewn over his eyes. [And] he’s happy about it. [... That is,] being made more feminine." She explains that "usually, that means taking something away (castration). But this [case] is an addition, not a subtraction. I think femininity, including traditional [...] motherhood, is a positive thing. Men and women are both better off if they can [in one way or another] be feminine. Not instead of other things, but in addition to them."


One is neither horrified nor delighted, but both. Yamaguchi's paradoxical imagery is grotesque. As Gazzola aptly indicates, her work persistently blurs line between humor and horror. Or, as Jahsonic likes to put it, Yamaguchi's work is "an uncanny mix of cruelty and innocence."[4] The result is both benign and unsettling. Subtly reminiscent of the Chants de Maldoror (1868-69), the art of Yuka Yamaguchi is beautiful as the chance encounter of an umbrella and a sewing machine on a dissecting table.


Lo lindo y lo espeluznante
Los dibujos de Yuka Yamaguchi son delicados y preocupantes. Gran parte de ellos son autobiográficos y muy personales. Mediante sus dibujos en lápiz color y bolígrafo, Yamaguchi comparte asuntos íntimos con el espectador.
Nacida en Japón, la dibujante explica acertadamente que sus trabajos son una especie de mirada instrospectiva, motivada por los extremos de lo bello y lo grotesco.
El trabajo de Yamaguchi desdibuja la línea entre el humor y el horror. Algunas obras de sus obras incorporan conceptos considerablemente dispares. Tal es el caso de
Inseparables (2006), donde los miembros de una mutilada pareja pre-adolescente se atan sus respectivos tendones y músculos. Ambos sonrien y parecen satisfechos con el acuerdo. Recuerdan una historia de amor de personajes del cine de terror japonés y su clásica advertencia, "debes amarme sólo a mí."[1]
Artista autodidacta, pero graduada como asistente social, Yamaguchi busca volver "lindo y divertido" aquello que halla a su alrededor.[2] Mas lo "lindo y divertido" de sus dibujos coexiste con otros elementos que insinúan no poca crueldad y sufrimiento. Cierto sentido del humor es detectable en su obra, aunque dicho humor es por lo general bastante negro. Un ejemplo de ello es Todo lo que puedo ver (2006), una imagen memorable, simultáneamente divertida y espeluznante.[3]
"En mi dibujo," escribe Yamaguchi, "un niño tiene senos cosidos sobre los ojos. Y es feliz por eso. [Es decir,] volviéndose más femenino." Explica la autora que "por lo general, eso significa perder algo (castración). Pero en el caso en cuestión, se trata de algo que se agrega, no de una sustracción. Creo que la feminidad, incluyendo la maternidad tradicional, es algo positivo. Hombres y mujeres se vuelven mejores si logran [de un modo u otro] ser femeninos. No en lugar de otras cosas, sino además de ellas."
Ante la obra de Yamaguchi, el espectador no se asusta ni queda encantado, sino ambas cosas a la vez. Paradójicas, las imágenes de Yamaguchi son además grotescas. Como indica Gazzola, el trabajo de Yamaguchi consiste en desdibujar la línea que separa al humor del horror. O, como bien percibe Jahsonic, su trabajo es "una extraña mezcla de crueldad e inocencia."
[4] El resultado es una imaginería benigna pero inquietante. Y, en cierto sentido, ella recuerda a los Cantos de Maldoror (1868-69), ya que su corte es bello como el encuentro fortuito de un paraguas y una máquina de coser sobre una mesa de disección.

References | Notas
1. Bart Gazzola, Yamaguchi's work blurs line between humour, horror, Planet S Magazine, 26.5.2007
2. Interview, Milk Magazine 302, Hong Kong, 3.5.2007
3. The image was requested by The Kyoto Journal Magazine for an issue on gender in Japan. | La imagen le fue encomendada por la Kyoto Journal Magazine para ilustrar una nota dedicada las cuestiones de género en Japón.
4. Jahsonic, Introducing Yuka Yamaguchi, Wordpress, 7.2.2009

The four color pencil and ballpoint pen drawings by Yuka Yamaguchi illustrated in this post are Inseparable (2006), All I Can See (2006), My Inner Elephant (2006), and A New Seedling (2008).

Ref. Uncanny, Surrealism, Strange, Bizarre, Weird, Unusual, Experimental, Incongruous, Transgressive, Unconventional, Irrationality, Excess.

Resources
Plastique Monkey Gallery
Paradoxical Times
Artistic Imagination
The Grotesque, photo-album
• Art & Popular Culture: grotesque, cognitive dissonance, uncanny

16.11.10

Artistic Imagination

by Mariano Akerman


In Greek, mimesis stands for "imitation" • Still Life by Justus Junker


The imaginary often involves fantasy • Then Lilies turned to Tigers


The imaginary may also relate to the fabulous • A Renaissance Gryphon


At times imagination finds expression in terms of grotesqueness • A Fertile Man by Fontanarrosa


Disconcerting is the effect of the grotesque • Object, by Meret Oppenheim


The grotesque is a structure • Italian grotteschi


As a structure, the grotesque is usually a visual paradox • Treu: Enthusiasm is Not Enough


It combines or fuses incompatible elements • Santos Maschen: Dragon


Grotesque strategies literally attack by surprise • Anonymous: Hand


The grotesque frequently violates norms and conventions • Marcelo Bordese: Jonah and the Whale


It involves ambiguity • Bacon: Lying Figure in a Mirror


The grotesque suggests the monstrous • Giuseppe Arcimboldo: Water


Sometimes it relates to black humor • Bacon: Figure with Meat


Although there are some playful grotesques too • Jake Crees: Oops


Thus, a grotesque can be amusing • "Just don't expected it to roar"


But it can be unsettling as well • Carlos Nine: Colored Relief


The grotesque is a game with the absurd • Death and Soap Bubbles


Significantly, the grotesque defies interpretation • Bacon: Study for Figure at the Base of a Crucifixion, detail


As Giordano Bruno puts it, the fictitious image entails its own truth.

4.11.10

Grottesca


On Beautiful Grotesqueness
Domus Aurea
Estilo fantasía de la antigua Roma
I sogni dei pittori
Raphael: The Vatican Loggia
Palazzo Vecchio



UFFIZI

- The Vasari Corridor. The building of the Uffizi ordered by Cosimo I (de' Medici) and supervised by Giorgio Vasari was commenced in 1560. The idea was to get the thirteen Guilds and Magistrates who administered the City under one roof or ... in closer proximity to Cosimo so he could control them better. As a collateral benefit the Medicis were to get the top floor for their art, theatre, etc. without paying anything.
At the same time Cosimo's wealthy wife, Eleanor of Toledo, had bought and was extending the Pitti Palace on the other side of the Arno. So, in 1565, well before the Uffizi had been completed, Vasari was also set to work building his "corridor" - a collection of linked galleries between the Palazzos Pitti and Vecchio which lent a new meaning to the phrase "journey to work" for Cosimo ... no more bodyguards or mixing with the masses, and plenty of opportunity to secretly spy on the activities of his subjects - a control freak's paradise! Cosimo even ordered the closure of the smelly butchers' shops then on the Ponte Vecchio (Paradoxplace).

- Ceiling painted with grotesques. It was Francesco I who decided to use the long loggia on the top floor of the Uffizi to set up a Gallery to house ancient statues and portraits of the Medici family and of illustrious men. Between 1579 and 1581 the ceilings of the Gallery were frescoed with grotesque motifs. This was a type of decoration which had spread at the end of the fifteenth century, being inspired by the Roman wall paintings discovered in the archaeological excavations, especially those in Nero's domus aurea. The work was begun by Antonio Tempesta and continued by Alessandro Allori, with the assistance of a group of collaborators that included Ludovico Buti, Giovanmaria Butteri, Giovanni Bizzelli and Alessandro Pieroni (Uffizi).

- Uffizi Ceilings, 1579-81. 46 Ceilings in the East Wing of the Uffizi painted by Antonio Tempesta and Alessandro Allori - after the style of rooms decorated by Fabullus in the palace of Emperor Nero, discovered in Rome in the 1480s and then thought to be "grottoes" (Paradoxplace).

- Stanzino delle Matematiche. Small room next to the Tribuna del Buontalenti in the Uffizi Gallery, where Grand Duke Ferdinand I de' Medici (1549-1609) had installed the collection of scientific instruments begun by his father Cosimo I (1519-1574). The Stanzino was intended to house the instruments, the treatises explaining how to use them, maps, city plans, and wooden models of war machines and fortifications. The ceiling was frescoed between 1599 and 1600 by Giulio Parigi (1571-1635), with a "grotesque" decoration in which many vignettes faithfully depicted a significant part of the collection and scenes of famous inventions, ancient and modern (Museo Galileo).

REFERENCE
- N. Dacos, La découverte de la Domus Aurea et la formation des grotesques à la Renaissance, London, 1969
- Ewa Kuryluk, Salome and Judas in the Cave of Sex - The Grotesque: Origins, Iconography, Techniques, Northwestern UP, 1987
- Museo dei Ragazzi, Palazzo Vecchio
- Grotesque, Wikipedia
- Thierry Bézecourt, Grotesques, Bloc-notes, 2.10.2006
- Lynne Rutter, Grotesque Obsession, The Ornamentalist, 10.4.2008
- Grottesca, Decorative Painting Courses, Florence. The decorative style called "Grottesca (grotesque)" that characterizes many famous interiors in Florence and Rome. Grottesca (grotesque) decoration is a renaissance style which takes its name from the grottos, or archaeological digs, which took place in renaissance times. These excavations unearthed richly decorated antique Roman interiors, specifically the villa of Nerone, The Domus Aurea, excavated in Rome in 1480. The artists of the day were so taken by this lively and versatile decorative style that they incorporated it immediately in their commissioned works. Raphael decorated the Logge of the Vatican in this style and later in Florence, Vasari's workshop decorated the Palazzo Vecchio with Grottesca (grotesque) motifs. The style is infinitely adaptable and is fun for artists because it is fresh, colourful, and contains many unexpected amusing elements.

PICS

- Commons: Pompeian Painting Styles
- Commons: Roman Frescoes, Fourth Style
- Commons: Grotesque

E&J
Groenling
Lynne Rutter
MikevV
Katrin Monahan
Sinsense

- A novel form of target practice captured on one of the Grotesque ceilings decorating the East Corridor of the Uffizi Gallery (The Vasari Corridor, by Adrian Fletcher - Paradoxplace).

Addendum. Wikipedia: Grotesque and Grotesque body.

DEFINICION DE GROTESCO - Que por su deformidad, mal gusto o extravagancia produce reacciones muy distintas, como risa, burla o rechazo (El País).

“Lo Grutesco” seguido del extraño Manifiesto de las formas sin nombre hallado en el interior de unas grutas
-La forma en que se encontró la genealogía de Gargantúa en Gargantúa y Pantagruel de Francois Rabelais
-Genealogía jeroglífica e incomprensible
-El descubrimiento de la Domús Áurea del Palacio de Nerón
-Los extraños motivos ornamentales de los muros: Los Grutescos
-Fragmento: Los Grutescos de André Chastel SUMMA ARTIS Tomo XLVI
-Manifiesto de las formas sin nombre

The grotesque as structure and aesthetic category
10 Rijksmuseum Collections


Galleria degli Uffizi

Thierry Bézecourt : Ces plafonds sont une sorte d'encyclopédie visuelle du monde de la Renaissance.







Enlaces a visitar
Ornamentalist

Lucas Kilian, Newes Gradesca Büchlein, 1607

Piranesi. Grabado
Capricho grotesco: la tumba de Nerón, Opere varie | Prima parte di Architetture, e Prospettive, 1750.
La ruina final de todo acto humano.
“vanidad de vanidades, todo es vanidad”, del destino perecedero de cuanto existe.
Grotteschi, los grabados grotescos, son una ventana abierta a la imaginación. Involucran vestigios ruinosos, la vegetación que irrumpe, las calaveras, las serpientes, los faunos y piedras amontonadas de antiguos pueblos.
Piranesi es “eclecticismo y excéntrica vena creativa”
En código postmoderno lo suyo sería hipertextualidad, multidisciplinaridad, mash up, copy/paste... una ensalada en un sentido absolutamente positivo.

Jonathan Prown & Richard Miller, The Rococo, the Grotto, and the Philadelphia High Chest, Chipstone, 1996.

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