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    Grottesque Mask.: Dying

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    reacharunk
    The document discusses grotesque masks and caricatures in art from different historical periods. It notes that masks and caricatures are closely related, depicting faces that are distorted, deformed or incorporate foliage. While antiquity disliked depicting the ugly, caricatures were occasionally used in early periods. The medieval and Renaissance eras frequently employed caricatures, as did modern art, using them to decorate furniture, tiles and other ornamental art. Younger Michelangelo was known to work skillfully in this style. The document includes examples of grotesque masks from Etruscan, Italian Renaissance, French Renaissance and modern French artworks.

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    Grottesque Mask.: Dying

    Uploaded by

    reacharunk
    13 views1 page
    The document discusses grotesque masks and caricatures in art from different historical periods. It notes that masks and caricatures are closely related, depicting faces that are distorted, deformed or incorporate foliage. While antiquity disliked depicting the ugly, caricatures were occasionally used in early periods. The medieval and Renaissance eras frequently employed caricatures, as did modern art, using them to decorate furniture, tiles and other ornamental art. Younger Michelangelo was known to work skillfully in this style. The document includes examples of grotesque masks from Etruscan, Italian Renaissance, French Renaissance and modern French artworks.

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    The document discusses grotesque masks and caricatures in art from different historical periods. It notes that masks and caricatures are closely related, depicting faces that are distorted, deformed or incorporate foliage. While antiquity disliked depicting the ugly, caricatures were occasionally used in early periods. The medieval and Renaissance eras frequently employed caricatures, as did modern art, using them to decorate furniture, tiles and other ornamental art. Younger Michelangelo was known to work skillfully in this style. The document includes examples of grotesque masks from Etruscan, Italian Renaissance, French Renaissance and modern French artworks.

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    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
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    13 views1 page

    Grottesque Mask.: Dying

    Uploaded by

    reacharunk
    The document discusses grotesque masks and caricatures in art from different historical periods. It notes that masks and caricatures are closely related, depicting faces that are distorted, deformed or incorporate foliage. While antiquity disliked depicting the ugly, caricatures were occasionally used in early periods. The medieval and Renaissance eras frequently employed caricatures, as did modern art, using them to decorate furniture, tiles and other ornamental art. Younger Michelangelo was known to work skillfully in this style. The document includes examples of grotesque masks from Etruscan, Italian Renaissance, French Renaissance and modern French artworks.

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    © All Rights Reserved
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    of 1

    The Mask.

    The Grottesque Mask, 95


    9. Satyr, Italian Renascence, by Sansovino, over a Festoon in
    Sta. Maria del Popolo, Rome.
    10. Dying warrior, by Schliiter, Berlin arsenal, 1697.
    The Grottesque Mask. (Plates 6264.)
    Masks and Caricatures pass into each other, so that it is diffi-
    cult to draw a strict line between them. The French language ex-
    presses this connection clearly, by using the related words "masque"
    and "mascaron."
    Under Masks are usually classed the delineations of beautiful
    countenances, either true to nature or idealising it. Caricatures are
    faces gunning, deformed, distorted by accessories, or terminating in
    foliage.
    Tho Antique, which had no love whatever for the depicting of
    the ugly and bizarre, only used Caricatures in its oldest periods, in
    the so-called Archaic style.
    The Middle Ages frequently employed Caricatures.
    The Renascence and Barocco styles, as well as our most Modem,
    art, often apply Caricatures to keystones, to consoles, as spouts and
    handles, on shields and cartouches, in capitals and panels, on the
    backs of chairs, and in general on carved furniture,
    _
    on stove-tiles, &c.
    We possess a number of excellent Caricatures from the hand of the
    youthful Michelangelo, who treated this form with predilection, and
    with the breadth characteristic of his genius.
    Plate 62. The Grottesque Mask.
    1. Etruscan, terracotta, Campana collection, (F. A. M., Cours
    d'ornement).
    2. Grottesque, Italian Renascence, Venice.
    3. Grottesque, tomb of the cardinal Sforza, Sta. Maria del Popolo,
    Rome, Italian Renascence, by Sansovino.
    4. Single Grottesque, from frieze, Italian Renascence, by Michel-
    angelo, San Lorenzo, Florence.
    5. Part of capital of pilaster, French Renascence, tomb of Louis XII,
    St. Denis.
    6
    7. Modern French Grottesques.
    Plate 63. The Grottesque Mask.
    1. Carved bench, Italian Renascence, Bargello, Florence,
    2
    3. Female, metal shields, German Renascence.
    4. Akroter, Tribunal de Commerce, Paris.
    6. Grottesque, Louvre, Paris, (Baldus).

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