24.3.14

Artists & Entries




Artists
Akerman, Mariano
Bacon, Francis
Bak, Samuel
Beksiński, Zdzisław
Bérain, Jean
Boilly, Louis-Léopold
Bolten, Arent van
Bruegel the Elder, Pieter
Callot, Jacques
Chapman Brothers, Jake & Dinos
Clovio, Giulio
Coquelin, Antoine
Desprez, François
DeVille, Julia
Delvoye, Wim
Doré, Gustave
Dubuffet, Jean
Ernst, Max
Fischli und Weiss
Floris, Cornelis
Fontanarrosa
Fuller, Timothy Jacob
Genovese, Alfredo
Gervasi, Elvio
González, Jesús
Goya y Lucientes, Francisco
Gravina, Francesco Ferdinando Il
Hoefnagel, Joris
Inga, Javier
Kertész, André
Kuksi, Kris
Lequeu, Jean-Jacques
Mäetam, Marko
Maschen, Santos
Marin, Livia
Menasché, Sergio
Messerschmidt, Franz Xaver
Nine, Carlos
Nowak, Till
Oliehoek, Jan
Ovchinnikov, Alexander
Petitot, Ennemond-Alexandre
Picasso, Pablo
Piranesi, Giovanni Battista
Quino
Raphael
Reinhardt, Ad
Riccardi, Fabrizio [+]
Salviati, Francesco
Santos, Carlos
Slarner, Liliana
Tanguy, Yves
Verona, Cachi
Weber, Andreas Paul
Wolverton, Basil
Yamaguchi, Yuka



Entries
A Curate's Egg
A la búsqueda del factor grotesco
A Procession of Grotesques
Acerca de lo Grotesco en las pinturas de Bacon
Alcances del sentimentalismo artístico
Ars Poetica
Arte argentino
Arte grotesco: algunos de sus alcances
As Funny as It Gets
Art as Intention in Context
Art Matters: Ideas & Themes Illustrated
¿Arte o Gato por Liebre?
Artistic Imagination
Artistic Monsters
Aspectos grotescos del arte de Bacon
Asunto de 6.000.000
Atypical Beings
Auricular Style
Bacon: Painter with a Double-Edged Sword
Bakhtin: The Body Grotesque
Banham y la estética del colectivo porteño
Best Regards to Medusa?
Bien complejo y bien porteño
Books: The Grotesque and Its Relatives
Bretagne fantastique
Buraq
Capricious
Chair-Ladder
Clavileño el Alígero
Configuraciones grutescas
De la mímesis como problema
De monstruos, prodigios y maravillas
Decoração insólita
Domus Aurea, Rome
Double-Edged
Educar con el ejemplo
El factor grotesco
El firulete, un asunto de importancia medular
El juego de Bacon
El laberinto del fauno
El ser y el trabajo
El todo mezclado
Estética do grotesco: Christoff
Estilo auricular
European Ornamental Prints
Figura en el espejo, 1971
Flora Picturesque
Francis Bacon en Buenos Aires
Francis Bacon y lo Grotesco
Fribolitus fribolitantis
Gigantomachy
Giornale Nuovo
Grotesco el cuerpo
Grotteschi
Grotesques selon l'Encyclopédie Larousse
Grotto-litera-turistika
Hibridaciones varias
Hindu Deities
Historia de la Arquitectura
Imaginary Art
Insuperable en la sátira: Antonio Gasalla
Jugando con fuego
Kafka
Kayser plus Bakhtin
Kuntillet Ajrud
La grottesca
La Revelación según Bak
La tradition des grotesques
Las fuentes hispánicas del arte baconiano
Las inscripciones de los carros
L'écriture des grotesques
Les Luthiers
Les songes drolatiques de Pantagruel
¿Lo bello que en lo feo o lo feo que en lo feo?
Lo familiar vuelto inquietante
Lo Grotesco en las pinturas de Bacon
Lo Grotesco en las pinturas instintivas de Bacon
Lo imaginario
Maniérisme : rébellion mélancolique
Masquerade: Somewhere between the Mask and the Face
Media and the Grotesque
Medieval Grotesqueries
Medieval Imagination
Mi linda maestra
Montaigne: Boscage or Crotesco
"Multiplica las sonrisas"
Netherlandish Realities
¿No es acaso el árbol un hombre?
"No Grotesques in Nature"
O fator grotesco
O grotesco
O grotesco nas artes visuais
O império do grotesco
Of Purpose in 20th-Century Art
Ornament and the Grotesque
Ortega y Gasset sobre la Metáfora
Painters and Poets Alike
Paradoxical Times
Popular Science: Grotescology
Quiebre y Derrame
Resources
Resourceful Jahsonic
Rocaille
Sacred Hybrid
Shell and Content
Significado de "A la que te criaste"
Sólo nos es segura la inseguridad
Terminología de las artes plásticas
The Child Catcher
The Creole Arabesque - El firulete criollo
The Fear Factor
The Fictitious Image
The Grotesque
The Grotesque in Bacon's Paintings
The Grotesque in Bacon's Paintings, 1999-2009
The Grotesque in Twentieth Century Art
The Hour of Jeanne d'Évreux
The Human Body in Modern Art
The Macclesfield Psalter
The Paradoxical
The Uncanny
Theatrical Murder
Transgressing the Boundaries
True Monsters
T.S. Eliott, "The Hippopotamus," 1925
T.S. Eliott, "The Hollow Men," 1925
Um estilo marginal
Versatilidad
Viva la mezcla
Viva la muerte



Bookmarks & Resources
Bibliography
Favorite Resources
Grottesca
Grotesco Online
Links
The Grotesque Times

21.3.14

Cornelis Floris

1508-1575

A Mannerist Netherlandish artist, Floris developed a bizarre set of designs featuring mascarons grotesques in 1555.[1]

Cornelis Floris, Grotesque Ornamental Mask (Mascaron), Antwerp, 1555
Etching by Frans Huys
Wolfsburg Kunstmuseum

In 1555, Floris designed between 18 and 22 sheets with human faces made up from vegetal elements, some highly stylized, others still recognizable as leaves and fruits. The images merge the animal and vegetable realms, and also the living and nonliving. Floris' designs intermix classical and not-so-classical components in most unexpected and extravagant ways.

Floris, Mascaron "i", Antwerp, 1555
Engraving by Huys
From: Pourtraicture ingenieuse de plusieurs façon de Masques. Fort utile aulx painctres, orseures, Taillieurs de pierres, voirriers et Taillieurs d'images (Ingenious portrayal of several types of masks. Useful for painters, stoneworkers [and other trades]).

Floris, Mascaron "h", 1555
Engraving by Huys (Pourtraicture ingenieuse).

Floris was born in Antwerp but spent some time in Rome in the late 1530s when he would have been exposed to examples of Ancient Roman and Renaissance grotesque decoration. The grotesque style often featured fanciful creatures--part human, part plant. The prints of Cornelis Floris have been described as having a sinister quality about them. In several of his prints, the combination of the auricular (ear-like) quality of the framework and the presence of individual figures apparently held prisoner by it, does give an unsettling effect (V&A).

Cornelis Floris
Ornamental Grotesque, Print "F", from Veelderleij Veranderinghe van grotissen ende Compertimenten ghemaeckt tot dienste van alle die de Conste beminne ende ghebruiken, Antwerp, 1556.[2]
Etching, 30.7 x 20.9 cm.
Published by Hieronymus Cock
Victoria & Albert Museum, London

The etching series Veelderleij Veranderinghe van grotissen ende Compertimenten are known in English as "Many Variations of Grottoes and Compartments."

Associated terms: putti, festoons, strapwork, shell motif, fantasy, snail, Auricular Style, imprisonment, Mannerist art.

Floris was a pioneer of the Auricular Style, which was to reach its a peak only in the 17th century.[3]

Johannes Lutma, Cartouche auriculaire, Amsterdam, 1633-54.
BnF, Paris.[4]

References
1. Incomplete sets of the suite are available from Amsterdam Rijksmuseum and MAK Vienna (Ornamental Prints Online). See also Carsten-Peter Warncke, Die ornamentale Groteske in Deutschland, 1500-1650, 2 vols., Berlin: Verlag Volker Spiess, 1979.
2. Désiré Guilmard, Les maitres ornemanistes : dessinateurs, peintres, architectes, sculpteurs et graveurs, Paris: E. Plon, 1880-81, p. 477 no. 6; Berlin Staatliche Museen, Katalog der Ornamentstichsammlung, Berlin and Leipzig, 1936-39, no. 211.1; Peter Ward Jackson, "Some Main Streams and Tributaries in European Ornament from 1500 to 1750", VAM, London, Victoria and Albert Museum, 1969, 38.
3. Auricular describes the smooth, curved, rippling and pliable shapes that resemble a human ear. Floris' prints are very early examples of this type of ornament which was developed by goldsmiths attempting to demonstrate organic forms extruding from the surface. The style probably influenced the later Baroque and Rococo movements: in various of his designs, Floris incorporates abstracted zoological motifs, in most cases relating to the ocean.
4. Guilmard, Maîtres ornemanistes, vol. 2, pl. 16.

Online Resources
• Misteraitch, Giornale Nuovo: Faces of the Grotesque, 2006
• Peacay, BibliOdyssey: Grotesque Mask Heads, 2011
• Akermariano, Imaginarium: Masquerade, Somewhere between the Mask and the Face, 2011

19.3.14

Raphael: The Vatican Loggia


The loggia, or colonnaded porch, on the second story of the Apostolic Palace is one of the Vatican’s most remarkable art treasures; its decoration, designed by Raphael (1483—1520) and executed by his workshop in 1517- 1519, epitomizes the spirit of the Italian Renaissance in its synthesis of Christian and classical themes. The thirteen square vaults of Raphael’s loggia each contain four frescoes of scenes from the Bible, from the Creation to the Last Supper. Meanwhile, the plasterwork of the other architectural elements is decorated with "grotesques"—fanciful arabesques enlivened with a wide variety of human and animal figures—modeled after ancient Roman wall paintings. [...] the grotesque ornamental style elaborated by Raphael has been imitated as far afield as the corridors of the United States Capitol, and the Bible scenes served as influential models for popular prints.[1]

Raphael Sanzio and Giovanni da Udine
Detail from Pilaster IX, with acanthus foliage populated by animals, and flanking half-pilasters, with grotesque imagery.
fresco, 1515-19
Vatican Loggia, Apostolic Palace, Rome.[2]

The Raphael Loggia consists of numerous vaults, arches and pilasters forming a gallery sixty-five meters long and four meters wide. Its construction was begun by architect and painter Donato Bramante in 1512, under Pope Julius II and was completed by Raphael under the reign of Leo X. Raphael began work on the frescoes in 1517.

Raphael Sanzio and Giovanni da Udine
Pilaster with Grotesques, fresco, 1515-19
Loggie, Apostolic Palace, Rome
Colored engraving by Volpato & Ottaviani, 1772-77

Grotesque Motifs

Raphael and Da Udine
Grotesques, 1515-19
Detail from engraving by Volpato & Ottaviani (after drawings by Camporesi & Savorelli Teseo); Le Loggie di Rafaele nel Vaticano, Rome, 1772-77.

Half-Figure
From a set of gouache colored engravings
Le Loggie di Rafaele nel Vaticano, 3 vols., Rome, 1772-77.[3]

Raphael and Giovanni da Udine, Grotteschi (Grotesques, candelabrum arrangement), fresco, 1515-19. Pilaster detail. Papal Loggias, Vatican.[4]

Fantasy Style
Motivos Grutescos

Raphael and Giovanni da Udine, Grotteschi (Grotesques, candelabrum arrangement), fresco, 1515. Pilaster detail. Papal Loggias, Vatican

Rafael, Grotesque motif, 1515-19
Detail from engraving by Volpato & Ottaviani (after drawings by Camporesi & Savorelli Teseo); Le Loggie di Rafaele nel Vaticano, Rome, 1772-77.

Notes
1. Nicole Dacos, The Loggia of Raphael: A Vatican Art Treasure, Abbeville, 2008.
2. Ibid., p. 43, pl. 19.
3. Photograph by Alan Carroll, 2012 (Surface Fragments and photo-album). Engraving is by Volpato & Ottaviani (after drawings by Camporesi & Savorelli Teseo).
4. Photograph by Alessandro Vasari, c. 1880-90 (Istituto Nazionale della Grafica).

Photographic records from the original work

Loggia_Vaticana







Drawings, watercolors, and prints





Giovanni Volpato et Jean Renard
Les logges de Raphaël au Vatican


Ermitage


Giovanni Volpato Pilaster IV
Le Loggie di Rafaele nel Vaticano

Giovanni Volpato
Le Loggie di Rafaele nel Vaticano

Ermitage

Ermitage

Pierre Adrien Paris
Arabesques des loges de Raphaël au Vatican, 1773
Planche XCV
Besançon, Bibliothèque municipale, Vol. 482, n° 133














Pierre Adrien Paris
Arabesques des loges de Raphaël au Vatican, 1773
Planche XCVI
Besançon, Bibliothèque municipale, Vol. 482, n° 134

Détails d'arabesques (ou grotesques) des pilastres du décor des Loges de Raphaël au Vatican, 1775. Chaque planche est finement dessinée à l'encre et aquarellée, rassemblant différents motifs des pilastres internes des Loges, peints par Giovanni da Udine. Une feuille d'études d'ornements de la Renaissance qui date du pensionnat de Pâris à l'Académie de France à Rome et l'un des plus beaux dessins aquarellés du fonds de Besançon. Elle a fait partie des 81 planches d'études envoyées fin 1773 ou début 1774, et probablement des dessins que l'architecte a été exceptionnellement invité à présenter devant l'Académie royale d'architecture à Paris au printemps 1775.





Le Loggie di Rafaelo nel Vaticano
1775-77
Plates designed by P. Camporesi, G. & L. Savorelli Teseo
Engraved by G. Volpato & G. Ottaviani
Pilasters

Decorazione alla Grottesca

Tutti Frutti

Pilaster XVIII
Robert MacPherson (1811-1872).

Giovanni da Udine: Grottesche

Resources
Domus Aurea
Estilo fantasía de la antigua Roma
Sogni dei pittori

Musei Vaticanii
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