But in his mind he is the sane one, and we are grotesques.
|
|
Her cast of grotesques runs from melting zombies to rats in Disney Princess dresses.
|
|
This version also features a few more stock redneck grotesques than did the first one.
|
|
Lynch put a horror button on it, adding one of his unnerving still-life grotesques.
|
|
Anyone who has read much of Crews's fiction knows he has an affinity for grotesques.
|
|
These "grotesques," as Anderson called them, had allowed doubt and fear to overwhelm their better instincts.
|
|
Possibly the day players essaying those stock grotesques, who retain the air of being hungry for work.
|
|
" Taken together, however, the strips produce "interminable grotesques" that "run off in great slanting waves of optic horror.
|
|
Barry Feldman, a historian and the tour's guide, will share stories of the buildings' decorative beasts, grotesques and cornices.
|
|
The former used mannequins to create corporeal grotesques, commonly involving symmetrical arrangements of legs emerging from both sides of a torso.
|
|
Google's Deep Dreams, released in 2015, was an early example of using deep learning to crank out psychedelic landscapes and many-eyed grotesques.
|
|
Indeed, the centerpiece of her current show at Kustera Projects in Red Hook, The Wrong Ways to Smile, features its share of pornographic grotesques.
|
|
Ils viennent mendier, vêtus d'accoutrements grotesques : voiles démesurés pour les femmes, même les fillettes ; djellabas en tissu pour les hommes ; chapelets affichés de manière ostentatoire.
|
|
So is his sense of Chekhov as a social satirist, whose characters are closer to the quirky grotesques of Charles Dickens than we usually realize.
|
|
And we haven't even begun counting the villains, a rogues' gallery of grotesques who evoke virtually every monster and murderer from myths and movies alike.
|
|
Encyclopaedia Dramatica, often abbreviated to 'ED,' stands today as a microcosm of the internet at its most feral, a gallery of villains and trolls and grotesques.
|
|
The piece summarizes Ensor (1860–1949) as a fantastically idiosyncratic painter defying categorization, imagining masked grotesques in lurid primary colors, all rolling eyes and gaping visages.
|
|
His characters were often visual grotesques, like Snappy Sammy Smoot, a dandy with googly eyes, gigantic red (or pink) lips, pomaded black hair and a delicate mustache.
|
|
The first was a Live studio, where conservative media outlets like the Daily Caller and the Washington Examiner hosted Facebook Live videos with grotesques like Senator Ted Cruz.
|
|
In the vein of Goya's satirical series of engravings "Los Caprichos" (000-1798), Shaw's pieces critique contemporary systems of oppression in a visual language of grotesques and homunculi.
|
|
There seems to be a genuine fondness for Santa Fe and its inhabitants, who are portrayed less as exaggerated grotesques and more often like characters with real-life analogs.
|
|
There is in these images, in their startling poses and crude takes, something of German expressionism, of George Grosz, perhaps even Goya's uncompromising visions of decay and Da Vinci's grotesques.
|
|
His drawings often of men and women with strangely deformed or exaggerated features — which he called "visi mostruosi," or "monstrous faces," and which scholars call "grotesques" — were distributed widely, and avidly copied.
|
|
Whenever a soirée, in his movies, swells into a gallery of grotesques, you detect his primary insistence—shared with his friend Ingmar Bergman—on cinema as a record of the human visage.
|
|
If you're regularly cutting up 4K video on multiple monitors, then the grotesques amount of RAM found in a fully-upgraded iMac Pro will help, even if it's a bit like fishing with dynamite.
|
|
Shot in the least picturesque parts of Paris and peopled with morbid eccentrics and grotesques, this picture, Zulawski's third feature and his first made in France, is in certain respects among his most restrained.
|
|
What her admirers respond to is not so much the gallery of grotesques as her reluctance to be wowed or cowed by them, still less to censure them or to set them up for mockery.
|
|
In a thoroughly immersed performance that's being seen as a guaranteed awards-season attention magnet, Joaquin Phoenix plays Arthur Fleck, a part-time rent-a-clown working for a seedy talent agency full of exaggerated grotesques.
|
|
Only time will tell whether this is the first emoji building to launch a trend, and if that trend will endure to become as widespread as grotesques on cathedrals or faux shutters on colonial-revival homes.
|
|
A bronze-and-plaster giant of indeterminate sex, holding a stick over its shoulder from which empty tuna cans dangle, leads a parade of several chipper grotesques in many sizes, mediums, and degrees of caricature and abstraction.
|
|
His "Woman" series, which he began in 1950 and continued for three years, is a group of monstrous, hypersexualized, devouring grotesques: "Never before had a woman been as brutalized by brushstrokes," Gabriel notes, which is saying a lot, after Picasso.
|
|
" This declaration is a powerful form of world-building—the same kind of world-building that Cecil Rhodes, the British imperialist who founded Rhodesia and one of history's most twisted grotesques, was doing when he sighed, "I would annex the planets if I could.
|
|
The youngsters include Akeem Smith, with a dance hall video enclosed in a custom-built gate on the fifth floor, at Red Bull Arts (Booth 14), and, on the seventh floor, Sharif Farrag with an exuberant display of ceramic grotesques at Adams and Ollman (Booth 3).
|
|
He got annoyed with me for walking too slowly and stopping too often, but I wanted to take photos of everything, the buildings, the canals, the laundry hung out in the damp air to dry, the mask shop with its window of carnival grotesques, backlit through the metal grille that had been pulled down.
|
|
Like her Chicago Imagist cohort (Gladys Nilsson, Jim Nutt, Roger Brown, Barbara Rossi, Karl Wirsum, and Ed Paschke), Murray never sanctified her surface with flatness or opticality, but instead adulterated it into a theater of saucy grotesques — a space she would eventually blow up and reconfigure into a character in itself, a golem molded from the painting's ground.
|
|
" What Young finds unsatisfying isn't that we fall for bunk, but that we're so ready to congratulate ourselves for seeing through it afterward, leaving the deeper implications on the table, like the unbearable continuities between Barnum's "racial grotesques" and the phony black inmate conjured up in James Frey's imaginary jail experience: "He calls himself Porterhouse because he says he's big and juicy like a fine ass steak.
|
|
But in the end, these rejected laughingstocks have only papered over a whole gallery of cabinet grotesques: from Scott Pruitt to Steve Mnuchin; Ben Carson to Betsy DeVos; and other "not qualified" jurists such as Leonard Steven Grasz, a believer in ignoring high-court rulings for abortion rights, former board member of a Nebraska organization that supports "conversion therapy" for gay kids (views Grasz says he has "never repudiated"), and a justice described as vengeful and "gratuitously rude" by former colleagues, who is now filling a lifetime seat on the 8th Circuit U.S. Court of Appeals.
|
|
The Darth Vader grotesque is a limestone grotesque by Jay Hall Carpenter. It is located at the Washington National Cathedral, Northwest, Washington, D.C., United States. The Darth Vader grotesque is one of many grotesques that are part of the National Cathedral's rain control system. The grotesques deflect rainwater by bouncing it off the tops of their heads and away from the stone walls.
|
|
The margins of many pages are heavily decorated with abstract designs that constantly sprout into plant shapes, and contain many small "marginal grotesques" of no obvious religious relevance. skate terrorises a man; one of many bizarre marginalia features throughout the Psalter. The Psalter, (noted for its gaudy, vivid images and its coarse Pythonesque humour) abounds in images of grotesques and drolleries. These images include grotesques with faces on their bottoms, three-headed monsters with hairy noses, a dog in a bishop's costume, an ape doctor giving a false diagnosis to a bear patient, rabbits jousting and riding hounds and a giant skate terrorising a man.
|
|
The crossbeams contain Roman portrait heads, while the cornice contains generic sculpted grotesques. The lobby also contains a set of German chimes designed by Harry Yerkes.
|
|
The most eccentric books directly reflected some of Baskin's more macabre visual interests, such as Demons, Imps and Fiends (1976), and Fancies, Bizarries & Ornamented Grotesques (1989).
|
|
Walter Bosse (November 13, 1904 - December 13, 1979) was a Viennese artist, designer, ceramist, potter, metalworker, and craftsman noted for his modernist bronze animal figurines and grotesques.
|
|
Watteau's notion of ornamental grotesques—a frame of fanciful plants and architectonic motifs surrounds a scene showing trees and people undertaking rural pleasures—clearly often served as inspiration.
|
|
In the Middle Ages, the term babewyn was used to refer to both gargoyles and grotesques. This word is derived from the Italian word babbuino, which means "baboon".
|
|
John Mylne Monument in Greyfriars Kirkyard. The text reads ...Aetatis Suae 56 because he died at age 56 In architecture the term "grotesque" means a carved stone figure. Grotesques are often confused with gargoyles, but the distinction is that gargoyles are figures that contain a water spout through the mouth, while grotesques do not. Without a water spout, this type of sculpture is also known as a chimera when it depicts fantastical creatures.
|
|
In a completely different genre, there are the "grotesques", which contrast violently with the canons of "Greek beauty": the koroplathos (figurine maker) fashions deformed bodies in tortuous poses – hunchbacks, epileptics, hydrocephalics, obese women, etc. One could therefore wonder whether these were medical models, the town of Smyrna being reputed for its medical school. Or they could simply be caricatures, designed to provoke laughter. The "grotesques" are equally common at Tarsus and also at Alexandria.
|
|
12, no. 11 (November 1900), (Chicago, R. > J. Haight), p. 619. Maene's team for the Quadrangle grotesques comprised Henry F. Plasschaert (of the Philadelphia School of Industrial Art), who modeled the figures in clay; William John Kaufmann and August Zeller (a former student of Thomas Eakins), who carved most of the grotesques; and Edmund T. Wright, who oversaw the carving and added finishing touches."Grotesque Figures Carved in Stone," Stone Magazine, vol.
|
|
This created the Pit, which came very close to breaching totally into the Void, and thus destroying the whole House. Tuesday also changed his Dawn, Noon and Dusk, into the seven Grotesques (Yan, Tan, Tethera, Methera, Pits, Sethera and Azer), which were less powerful. This existence makes them miserable. Towards the end of Grim Tuesday, one of the Grotesques is stabbed by Saturday's Dusk, which kills them all as a result of their common origin.
|
|
Possibly in homage to the comedies played between 1660 and 1662, Burnacini later drew many of his grotesques and Commedia dell'arte characters, which are now kept in the Theatermuseum in Vienna.
|
|
Eliodoro Forbicini (born 1533), who flourished from 1550 to 1570, was a native of Verona, who excelled in grotesques. He decorated two rooms in the Palazzo Canova, which have been much admired.
|
|
Capitals with grotesques in the grand south portal The twin towers of the Grossmünster are regarded as perhaps the most recognized landmark in Zürich.TripAdvisor review, accessed September 10, 2006 Architecturally, the church is considered Romanesque in style and thus a part of the first pan-European architectural trend since Imperial Roman architecture. In keeping with the Romanesque architectural style, Grossmünster offers a great carved portal featuring medieval columns with grotesques adorning the capitals. A Romanesque crypt dates to the 11th and 13th centuries.
|
|
In 2010, Bristol-based art gallery Antlers Gallery exhibited its first exhibition Grotesques. The exhibition was held at a disused retail space in Whiteladies Gate. The project featured work by eleven Bristol based artists.
|
|
This setting, now destroyed, is known from preparatory drawings. He was a decorative artist, and made a number of tapestries for the Gobelins. Audran's style included arabesques, grotesques and singeries. He died in Paris in 1734.
|
|
The church has a reworked Romanesque portal with a pair of grotesques on the wall, one on each side. The left one is a face with a hand pulling the beard, and the other is a face sticking out its tongue. The motifs have similar parallels carved in stone at Hedrum Church in Vestfold and at Lunner Church, but are stylistically different. A tale says that the grotesques represent two severed heads that were bricked into the wall, belonging to two thieves that stole the church's silver and were then captured and executed.
|
|
Title page drawing for Griset’s Grotesques, 1867 Ernest Henri Griset (born 24 August 1843 in Boulogne-sur-Mer, died in London on 22 March 1907) was a painter and illustrator noted for the humorous interpretations of his subjects.
|
|
Varages also made polychrome grotesques in the Pompadour style or in imitation Chinese style, using the strong colors common to Marseille. As other potters came to Varages, in the last three quarters of the eighteenth century it came to rival Moustiers.
|
|
Retrieved 26 August 2020. and features delicate carved lacework and grotesques. Its design was compared by contemporary architect Nathaniel Wales to that of England's Eleanor crosses. The design also originally featured drinking fountains, but they have been unused for many years.
|
|
In these grotesque decorations a tablet or candelabrum might provide a focus; frames were extended into scrolls that formed part of the surrounding designs as a kind of scaffold, as Peter Ward-Jackson noted. Light scrolling grotesques could be ordered by confining them within the framing of a pilaster to give them more structure. Giovanni da Udine took up the theme of grotesques in decorating the Villa Madama, the most influential of the new Roman villas. Maiolica pilgrim bottle with grottesche decor, Fontana workshop, Urbino, c 1560-70 In the 16th century, such artistic license and irrationality was controversial matter.
|
|
These frescoes display typical themes of the time, such as romantic landscapes, grotesques and rustic scenes. On the first floor, a Trompe-l'œil fresco covers the entire room, giving the optical illusion of a pergola, with an olive tree in the distance.
|
|
The Hall of the General Council of the Republic has a Flemish painting and a fresco of the Lucchese Freedom. Above the Loggia delle Guardie is the Ammannati Loggia, decorated with grotesques and stucco. The Staffieri Hall has frescoes by Luigi Ademollo.
|
|
Pitchfork, 25 January 2018. Retrieved 27 January 2018 Thematically, his frequently densely layered lyrics often centre around descriptions of urban grotesques, gloomy landscapes, "crackpot history", and are infused with regional slang.O'Neil, Sean."Remembering The Fall's Mark E. Smith, rock’s most uncompromising voice".
|
|
The wing has a baroque pediment above its cornice. The faces of the stone voussoirs of the arches are projected outward. The facade is decorated with terra cotta grotesques. One figure in particular is Athena, the building's namesake, who is placed in the top arch.
|
|
The egrets from the Roosevelt dining table reappeared, this time supporting the dining room mantel, but the house is best remembered for the nightmarish chimneypiece in its library. The tall and massive walnut chimneypiece featured compressed columns supporting oversized piers incised with stylized sunflowers, twin "hounds of hell" grotesques snarling from behind shields, a diapered and gold-leafed tympanum bisected by a center column, a crocketed pediment rising to a finial, and twin owls staring down from the roof. The Moore house was demolished in the 1950s, but much of the chimneypiece, stripped of its grotesques and thus about 3 feet (0.91 m) shorter, survives.Bloomfield Moore chimneypiece in 2009, nos.
|
|
Other grotesques, such as gargoyles and hunky punks, were frequently part of church decorations all over Europe. It is commonly said that their purpose was to keep evil spirits away (see apotropaic magic). They often are positioned over doors or windows, presumably to protect these openings.
|
|
In chess, a grotesque is a problem or endgame study which features a particularly unlikely or impossible initial position, especially one in which White fights with a very small force against a much larger black army.Hooper & Whyld (1996), p. 160 Grotesques are generally intended to be humorous.
|
|
Above this is a shallow octagonal bowl with a diameter of . It has 16 overflow outlets; these are decorated with scallops, Lancastrian roses, and marine grotesques. From the centre of this bowl rises another bowl about in diameter. This is surmounted by a mermaid holding a cornucopia.
|
|
Cornelis Bos would publish more than a hundred engraved designs of strapwork and grotesques. Bos also produced popular engravings of religious and allegorical subjects, often dependent for their composition upon the Kleinmeisters of Nuremberg, with many parallels in the output of Virgil Solis.van der Coelen 1995.
|
|
Betty Lane (1907 - 1996) was an American artist. Lane's first exhibition was at the Phillips Memorial Gallery in 1931. Lane created figure subjects, portraits, and landscapes executed in watercolor and oil. Her work includes nature and street scenes in the Americas and Europe, domestic scenes, and grotesques.
|
|
The same company also worked on the harled and single storeyed school teacher's house.Close (2012), Page 480 The school gable has a set of quirky grotesques built into it of unknown age; they may represent the proverb "see no evil, hear no evil, speak no evil".
|
|
Villa Valguarnera, begun in 1712, for Marianna del Bosco (Princess of Cattolica). Villa Palagonia. "Dei Monstri" a series of sculpture of Grotesques which adorn the parapet of the villa Tommaso Maria Napoli (April 16, 1659 – June 12, 1725) was an Italian architect, Dominican Order monk, engineer and mathematician.
|
|
In January 1587 they were hired for the large fresco painting of the Battle of La Higueruela in the same room, a very different sort of painting of grotesques which was made and for which it served as a model of an old canvas painted in grisaille found in the Alcázar of Segovia and restored by Castello in 1581. After this painting, in September 1589, with Granello and Tavarone, as Cambiasi had returned to Italy, he was hired to work on the paintings of the remaining walls, accounting for the first four episodes devoted to the Battle of St. Quentin. In February 1591, even without concluding these frescoes, he began working on painting the grotesques.
|
|
Two grotesques and antique lampposts at the base of the grand staircase inside were removed in 1947 and sold. They were reclaimed by the City and reinstalled in the 1980s. Council Chambers of Old City Hall. The chambers have been used as a courtroom since the building became a dedicated courthouse.
|
|
Inside the church, both arcades have seven bays. The lower stage of the tower internally has vaulting carved with devices including Tudor roses and grotesques. In the body of the church, the roofs have corbels carved with grotesque heads. In the north aisle is a piscina with a sharply pointed head.
|
|
The nave roof dates from the 15th century, and the chancel roof from about 1600. The latter is lower, almost flat, and more ornate than that of the nave. It contains large bosses carved with foliage and grotesques. On the tympanum between the chancel and nave roof are painted coats of arms.
|
|
"10 Songs That Defined the Fall and Mark E. Smith". Pitchfork, 25 January 2018. Retrieved 27 January 2018 Thematically, his frequently densely layered words often centre around descriptions of urban grotesques, gloomy landscapes, "crackpot history", and are infused with regional slang.O'Neil, Sean."Remembering The Fall's Mark E. Smith, rock’s most uncompromising voice".
|
|
53 Avant-garde artist Til Brugman, fluent in several languages, publishes poems from 1923. She also writes literary grotesques, amongst others on sexual minorities, which she belonged to, living together with LGBT lovers like Hannah Höch. Carry van Bruggen, sister of Jacob Israël de Haan, published her partly autobiographical novel Eva in 1927.
|
|
KANSAS – Douglas County, nationalregisterofhistoricplaces.com. Accessed 2008-12-24. The exterior is constructed of local Oread Limestone, while the window facings, columns, arches, and grotesques are carved from Cottonwood Limestone. Dyche Hall is also the site of one of only three Victory Eagle statues in Kansas, once used as markers on the Victory Highway.
|
|
Located inside the South Transept, the memorial stone depicts Ratti carving a never-to-be-finished gargoyle.Wendy True Gasch, Guide to Gargoyles and Other Grotesques (Washington National Cathedral, 2003). Sculptor Walker Hancock modeled the altarpiece for the Good Shepherd Chapel in 1957, and Morigi carved it in limestone.The Good Shepherd altarpiece, from Flickr.
|
|
The single-story south porch is Perpendicular and features a crenellated parapet, diagonal buttresses and large carved grotesques at each corner. The south doorway is Norman. The jambs have circular nook-shafts topped by leafy capitals. The arch has a dog-tooth pattern and a beak-head at the apex and terminals.
|
|
The Battle of Higueruela (detail) by Fabrizio Castello, Luca Cambiasi and Lazzaro Tavarone, in the Gallery of Battles at the Royal Monastery of San Lorenzo de El Escorial Fabrizio Castello (1562–1617) was an Italian painter of Genoese origin settled in Spain. He was a fresco painter who specialized in ornamental painting grotesques.
|
|
Artists began to give the tiny faces of the figures in grotesque decorations strange caricatured expressions, in a direct continuation of the medieval traditions of the drolleries in the border decorations or initials in illuminated manuscripts. From this the term began to be applied to larger caricatures, such as those of Leonardo da Vinci, and the modern sense began to develop. It is first recorded in English in 1646 from Sir Thomas Browne:"In nature there are no grotesques".OED, "Grotesque" By extension backwards in time, the term became also used for the medieval originals, and in modern terminology medieval drolleries, half-human thumbnail vignettes drawn in the margins, and carved figures on buildings (that are not also waterspouts, and so gargoyles) are also called "grotesques".
|
|
He also assisted Sustris and Alessandro Scalzi (known as Il Paduano) on their 1580 work at Trausnitz Castle at Landshut - there Ponzano worked on the lodges in the castle, creating scenes of mythological love affairs. Sustris designed the Grottenhof at the Munich Residenz, with the shells and grotesques painted by Ponzano and the Dutchman Pieter de Witte.
|
|
The second Luttrell artist, "the Colourist", often drew images that were more sculptural and modelled by light and shade. He took more notice of human form and posture in his drawings. The third Luttrell artist, "the Illustrator", favoured a two-dimensional style. The fourth Luttrell artist, "the Luttrell Master", was skilled in rural themes and outlandish grotesques.
|
|
The 2-floored palace building covers an area over 1700 m², using classical Baroque architecture with European and Oriental influences. The flooring, staircases and halls were European-styled, while the roof was Oriental-inspired. Surrounding the palace is a trapezoid-shaped flower garden, with 4 pathways. The front face of the roof is decorated with grotesques.
|
|
He married Fani Popova and the couple continued their education in Munich during the 1920s, Mutafov studying architecture, before returning to Bulgaria. Mutafov worked as an architect. He published essays in the monthly journal Zlatorog and also gave talks on modern art, music, film and industrial design. Besides his essays and novel, Mutafov also wrote short stories and grotesques.
|
|
The roof of the south nave has alternating arch- braced and hammerbeam trusses. It is decorated with angels, shields, grotesques and other secular subjects. Furnishings designed by Douglas include the pews, the stalls and the screens in the arcade. The east window contains stained glass which is said to be dated 1546; it depicts the Crucifixion.
|
|
Access to the Cloister from St John's Quad is via the Founder's Tower or Muniment Tower. The chapel and the hall make up the southern side of the quad. It is also home to the junior, middle, and senior common rooms, and the old library. In 1508, grotesques known as hieroglyphics were added to the Cloister.
|
|
Nightmares in the Sky: Gargoyles and Grotesques is a coffee table book about architectural gargoyles, photographed by f-stop Fitzgerald with accompanying text by Stephen King, and published in 1988. An excerpt was published in the September 1988 issue of Penthouse. Some of the images have been used as sprites in the video games Doom and Doom II.
|
|
139 Villa di Maiano in Fiesole served as the Pensione Bertolini.Ingersollg, Filming Forster, p. 91 From its decoration of the walls they asked a painter to do a series of decorative artworks called grotesques that were used for titles between sections of the film, like chapter headings, following chapter titles in Forster's novel.Ingersollg, Filming Forster, p.
|
|
Oxford University Press. Web. 5 March 2018 (Vicenza, 1603 - Venice, 8 September 1678) was a versatile Italian painter who worked in many genres and created altarpieces, portraits, genre scenes and grotesques. He also created pastiches of the work of leading Italian painters of the 16th century. He designed cartoons for mosaics and worked as an art restorer.
|
|
The spire and tower were extensively restored in 1994, and a new set of carved grotesques and gargoyles was added. Many of the carvings are in the form of caricature representations of members of the church congregation, the British Royal Family or the clergy. The Queen, Prince Charles, Prince William and Archbishop Michael Ramsey are among the better-known figures depicted.
|
|
The choir stalls support forty 14th-century misericords. These misericords show a mixture of mythological beasts, grotesques and everyday events, there appears to be no pattern to the content. In addition to the misericords in the choir, there are five others contained in a row of "Judges Seats". It is unclear if these were used as misericords, or if they are just ornamentation.
|
|
Ponzano's grotesques in the Munich Residenz. Antonio Ponzano, Ponzoni or Bonzone (died 1602, Munich) was an Italian Mannerist painter active in the 16th century. His birthplace is unknown - it may have been Venice, since he was influenced by the Venetian style. He was a studio assistant to Giulio Licinio in 1565 at the court of Maximilian II, Holy Roman Emperor in Vienna.
|
|
In the center of the garden stands a shrine. The upper level has a simple wooden ceiling, galleried by forty arches, resting on pilasters, whose capitals are decorated with grotesques and other motives. From the ground floor the chapter houses can be accessed. The "Ancient Chapter" is dark, simple and austere, from the 14th century, with work from the following centuries.
|
|
Although most have grotesque features, the term gargoyle has come to include all types of images. Some gargoyles were depicted as monks, or combinations of real animals and people, many of which were humorous. Unusual animal mixtures, or chimeras, did not act as rainspouts and are more properly called grotesques. They serve as ornamentation but are now popularly called gargoyles.
|
|
Johnston is similar in style to the others, a bookend opposite Holton - decorated with a string course with carved human heads and grotesques. Greene Hall is a smaller chapel-like building behind Johnston. In 1964, Milwaukee-Downer College was consolidated with Lawrence University in Appleton, Wisconsin. The University of Wisconsin–Milwaukee purchased the site and it became part of the university's campus.
|
|
The exterior of the organ case had to be decorated with painted grotesques, which was a specialty of the Vredeman de Vries workshop. It is not entirely clear which parts of the commission were to be executed by Salomon and this contract also does not shed any light on the question as to whether he was at that time residing in Utrecht.
|
|
In a carpark of the school there is also a slabbed-over entrance to the Ramsgate A.R.P. tunnels, which ran for around 3.5 miles. These are not connected to the school shelters. Exterior of Chatham House A pair of Grotesques; characteristic of the school's Gothic Revival style architecture. The main building of the school as well as the railings were grade II listed.
|
|
His designs were engraved by Pierre Lombart, William Faithorne, and Wenceslaus Hollar, and were so much admired that the king of France had those for Virgil copied in a special edition of his own. Cleyn etched title-pages for E. Montagu's Lacrymæ Musarum (1650), Thomas Fuller's A Pisgah-sight of Palestine (1650), a frontispiece to Lysis, or the Extravagant Shepherd, and perhaps the etchings in the 1654 and 1660 editions of that work. He published in the form of grotesques some sets of original etchings, namely Septem Liberates Artes (1645), Varii Zophori Figuris Animalium ornati (1645), Quinque Sensuum Descriptio (1646); and a friend and contemporary artist, a Mr. English, etched some grotesques (1654), and a humorous piece from Cleyn's designs. There are other etchings in the print room at the British Museum, attributed with great probability to Cleyn.
|
|
The Great Hall (1889) with Jane Benham Hay's 'The Florentine Procession' on display. The College croquet lawn in Summer. The original Victorian Cavendish College buildings were constructed in 1876 in the Gothic Revival style, using a combination of red Suffolk brick and Bath stone dressings. One of the most notable features is an oak doorway with an ogee arch flanked above by ornamental grotesques.
|
|
A ceiling with grotesques and scrollwork "of exceptional quality" was found at Moubray House on Edinburgh's Royal Mile in 1999. After restoration the whole building was pledged as a gift to Historic Scotland by an American benefactor in 2012.Bath (2003), p.245: Scotsman Newspaper, Lifestyle, 24 August 2012 Another ceiling on Edinburgh's Royal Mile was discovered in 2010 in Clement Cor's house in Advocate's Close.
|
|
Baudelaire was not the first French translator of Poe, but his "scrupulous translations" were considered among the best. These were published as Histoires extraordinaires (Extraordinary stories) (1856), Nouvelles histoires extraordinaires (New extraordinary stories) (1857), Aventures d'Arthur Gordon Pym, Eureka, and Histoires grotesques et sérieuses (Grotesque and serious stories) (1865). Two essays on Poe are to be found in his Oeuvres complètes (Complete works) (vols. v. and vi.).
|
|
William B. Hanna School was a historic school building located in the Carroll Park neighborhood of Philadelphia, Pennsylvania. It was designed by Henry deCoursey Richards and built in 1908–1909. It was a three-story, reinforced concrete, brick faced building in the Late Gothic Revival-style. It featured a central Gothic arched entry with grotesques, limestone trim, and a cornice with terra cotta trim.
|
|
Cesare Filippi (1536-after 1602) was an Italian painter. He was the younger son and pupil of Camillo Filippi. Cesare was born at Ferrara in 1536. He assisted his father and brother Sebastiano in their works, and excelled in painting heads and grotesques in the ornamental style, although he sometimes attempted historical subjects, which are very feeble imitations of the style of his brother.
|
|
In Winchcombe and its vicinity can be found Sudeley Castle and the remains of Hailes Abbey, once one of the main places of pilgrimage in England, due to a phial possessed by the monks that was said to contain the Blood of Christ.Sacred Destinations Abbey site. Nothing remains of the former Winchcombe Abbey. St Peter's Church in the centre of the town is noted for its grotesques.
|
|
The pinnacles, faced with gable and finial devices, are crocketed with grotesques. Further pinnacles are placed at the west corner and centre of the south chapel. The chancel and north chapel east wall is supported by three-step buttresses--two defining the edge of the chancel, and one at the north chapel corner which is diagonal. A two-step angled buttress supports the south chapel east corner.
|
|
The Sala delle Grottesche was decorated in the Mannerist style of the 16th century, and was commissioned by Marquess Michele Antonio around 1560. It has a finely painted ceiling, decorated with stuccoes, grotesques, ancient ruins and buildings. Annexed to the castle is the church, whose apse has a series of frescoes about the life of Christ dating from the same time as the Baronial Hall decorations.
|
|
The north porch is richly vaulted within, and is surmounted externally by a panelled and battlemented parapet. On the cornice beneath are a number of grotesques to carry off the roof water: two at each side. A much- worn stoup for holy water is against the inner doorway. The door itself is the original one and still retains a large handle and escutcheon of the original ironwork.
|
|
37–38 The revised form remained widely used well into the 20th century; a new English translation was published in 1948.Lockspeiser, pp. 42 and 44 Other selections from Berlioz's press columns were published in Les Soirées de l'orchestre (Nights with the Orchestra, 1852), Les Grotesques de la musique (1859) and À travers chants (Through Songs, 1862). His Mémoires were published posthumously in 1870.
|
|
Northern Secondary is built in the Collegiate Gothic style, has a floor space of about 121,317 square feet and contains one hundred and fifteen rooms. C.E.C. Dyson was the school's original architect. Although little is known about him, he was the school board's architect from 1921 until 1949. Northern is known for the grotesques which exist on the exterior, throughout the entrance foyer and inside the auditorium.
|
|
Some of the earliest plays to address the question of women's suffrage were written in opposition to extending the vote. These plays satirized the notion of revised (and more equal) gender roles by portraying women as incapable of influence afforded to men or characterizing suffragists as "unwomanly" grotesques. Little research has been done into the prevalence or popularity of these anti-suffrage plays.Friedl, Bettina.
|
|
The dormitories are adorned with a total of 163 limestone gargoyles, bosses (cartoonish grotesques), and other carved elements. The Memorial Tower and the Provosts Tower feature carved limestone plaques and ornament by Edward Maene. The Upper Quad is decorated with 69 limestone bosses, spaced about 8 feet apart along the belt course between the second and third stories.Penn Quad Gargoyles, from Philadelphia Public Art.
|
|
Wolf participated in the choir his father trained and carved grotesques from his father's oil-stones. At the age of three he was sent to the local school to be educated in Jewish culture. In 1911, when Wolf was eight, his father died, leaving the family bereft of financial support. With the outbreak of the First World War, they decided to move to Warsaw.
|
|
Floris collaborated with engraver and publisher Hieronymus Cock in the publishing of books with his designs for monuments and ornaments: the ‘’Veelderley niewe inuentien van antycksche sepultueren’’ (‘The many new designs of antique sculptures') was published in 1557 and the ‘’Veelderley veranderinghe van grotissen’’ (‘Many varieties of grotesques’) in 1556. The publication of these books contributed to the spread of his style throughout the Netherlands.
|
|
Designed by Jean Omer Marchand and John A. Pearson, the tower is a campanile whose height reaches 92.2 m (302 ft 6 in), over which are arranged a multitude of stone carvings, including approximately 370 gargoyles, grotesques, and friezes, keeping with the Victorian High Gothic style of the rest of the parliamentary complex. The walls are of Nepean sandstone and the roof is of reinforced concrete covered with copper. One of four grotesques at the corners of the Peace Tower At its base is a porte-cochère within four equilateral pointed arches, the north of which frames the main entrance of the Centre Block, and the jambs of the south adorned by the supporters of the Royal Arms of Canada. Near the apex, just below the steeply pitched roof, are the tower's 4.8 m (16 ft) diameter clock faces, one on each of the four facades.
|
|
The church's windows have been enlarged in phases, but no other major alterations have been made to the exterior of the church. Inside, the church is decorated with a large and rich set of frescos, dating from circa 1470. The motifs are a mix of Christian, religious pictures and humorous grotesques. Among the more unusual of the frescos are depictions of the fifteen signs that forebode the Last Judgement.
|
|
Hoefnagel was a very versatile artist. Heis known for his landscapes, emblems, miniatures, grotesques, topographical drawings, genre scenes, and mythological and allegorical drawings and paintings. Part of Hoefnagel's artistic works was kept in the Dutch Republic by Constantijn Huygens when bequeathed to the Huygens family at Hoefnagel's death. These works were seen by Dutch artists and exercised an important influence on the development of Dutch still life and naturalist art.
|
|
A further Bramantesque detail is the entablature that breaks forward over the columns, linking them above, while they stand on separate bases. The interior loggia formed by the arcade is frescoed with Raphaelesque grotesques, in the manner of the Vatican Logge. The gallery and upper floors were reached by five spiral staircases around the courtyard: the most important of these is the Scala Regia ("Royal Stairs") rising through the principal floors.
|
|
Grotesque engraving on paper, about 1500 - 1512, by Nicoletto da Modena. The delight of Mannerist artists and their patrons in arcane iconographic programs available only to the erudite could be embodied in schemes of grottesche,An example, the vaulted arcade in the Palazzo del Governatore, Assisi, which was frescoed with grotesques in 1556, has been examined in the monograph by Ezio Genovesi, Le grottesche della 'Volta Pinta' in Assisi (Assisi, 1995): Genovesi explores the role of the local Accademia del Monte. Andrea Alciato's Emblemata (1522) offered ready-made iconographic shorthand for vignettes. More familiar material for grotesques could be drawn from Ovid's Metamorphoses.Victor Kommerell, Metamorphosed Margins: The Case for a Visual Rhetoric of the Renaissance 'Grottesche' under the Influence of Ovid's Metamorphoses (Hildesheim, 2008).. The Vatican loggias, a loggia corridor space in the Apostolic Palace open to the elements on one side, were decorated around 1519 by Raphaels's large team of artists, with Giovanni da Udine the main hand involved.
|
|
The tall tower, with battlements, pinnacles and grotesques, carries a peal of six bells. Part of the church was rebuilt in 1866 due to the porous nature of the green sandstone that had deteriorated over two hundred years. The church tower fell down on 18 Sep 1881, but was quickly rebuilt and completed in 1884. The church clock stopped working in the 1980s and several early attempts to repair it proved to be failures.
|
|
Edward F. Caldwell & Co. provided the interior lights for the lobby and hallways. The ceilings are decorated with patterned glass mosaics that contains blue, green, and gold tiling with red accents. There are other Gothic-style decorations in the lobby, including on the cornice and the bronze fittings. Several grotesques, depicting twelve people with a major role in the building's construction, are located at the intersection of the arcade and the mezzanine.
|
|
These are "exceptional examples of NeoGothic Revival architecture, complete with carved faces (grotesques), gargoyles, and other carved stone embellishments". Other buildings add a more modern tint to the city's skyline. Among these, the most prominent are the Tower of the Americas, The Weston Center, the Marriott Rivercenter, and the Grand Hyatt. Yet other buildings, such as The Vistana complex, offer a more modern Art Deco form of architecture to the city's image.
|
|
9 He responded to the colors of Italy, but sadly noted, "that a long struggle lies in store for me in this field of color."Kagan, p. 23 For Klee, color represented the optimism and nobility in art, and a hope for relief from the pessimistic nature he expressed in his black-and-white grotesques and satires. Returning to Bern, he lived with his parents for several years, and took occasional art classes.
|
|
It combined Greek, Roman, and what was loosely called Etruscan styles with arabesques and grotesques borrowed from Raphael and the Renaissance, and with chinoiserie and Turkish themes, Between 1780 and 1792, the style also appeared in architecture, in classically buildings including the Petit Trianon in Versailles and the Château de Bagatelle (1777). It also appeared in other art forms, including in particular the paintings of Jacques-Louis David, especially the Oath of the Horatii (1784).
|
|
Hieronymus Bosch, Man Tree, c. 1470s. The "Tree-Man" of the right-hand panel, depicted in an earlier drawing by Bosch. This pen and bistre version contains no suggestion of Hell, yet its outline was adapted into one of The Gardens most memorable grotesques. Little is known for certain of the life of Hieronymus Bosch or of the commissions or influences that may have formed the basis for the iconography of his work.
|
|
198 for Giustiniani's descriptions. Tenor Jean de Reszke who originally trained as a baritone With the rise of the castrato singer in Italian opera, the baritenor voice came to be perceived as "ordinary" or even "vulgar" and was relegated to portraying character roles – villains, grotesques, old men, and even women.Celletti (1996) p. 7 Although there were exceptions, such Dario in Vivaldi's L'incoronazione di Dario (created by the tenor Annibale Pio Fabri),Casaglia (2005).
|
|
In the 1980s, during the construction of the northwest tower, a children's competition was run by National Geographic World to draw grotesques for the building. Christopher Rader won third-place, with his drawing of Star Wars villain Darth Vader. The head was sculpted by Jay Hall Carpenter and the stonecarver was Patrick J. Plunkett. The Darth Vader grotesque is difficult to see with the naked eye, and binoculars are generally needed to spot it.
|
|
It has two large columns that are decorated with grotesques and figures in relief at their base, while they appear grooved on the top. On the lintel that frames the main door, the niche between columns contains the image of Saint Catherine of Alexandria, flanked by two coats of arms of Bishop Acosta. A triangular pediment crowns this second body. Above this is the imperial coat of arms of Philip II, from the later period.
|
|
The depicted themes, the style of the carving and the motifs, which include grotesques and Cupids, enable researches to date most of the pieces to the 16th century and attribute them to Western European Renaissance craftsmen. This bone throne has been renovated several times in Russia: worn pieces of bone were remade by local craftsmen; in 1856, on the occasion of the coronation of Emperor Alexander II, the throne was decorated with a gilded silver two-headed eagle.
|
|
Unlike earlier grotesque designs, many were issued in extremely large and versatile families from the time of release, making them easier to use for body text. Similar to grotesque typefaces, neo grotesques often feature capitals of uniform width and a quite 'folded-up' design, in which strokes (for example on the 'c') are curved all the way round to end on a perfect horizontal or vertical. Helvetica is an example of this. Others such as Univers are less regular.
|
|
During the 1921–23 reorganization the Baroque Museum in the Lower Belvedere was added to the existing museum ensemble. The Moderne Galerie was opened in the Orangery in 1929. The palaces suffered considerable damage during World War II. Parts of the Marble Hall in the Upper Belvedere and the Hall of Grotesques in the Lower Belvedere were destroyed by bombs. After reconstruction work was completed, the Österreichische Galerie reopened in the upper palace on 4 February 1953.
|
|
Backhouse (2000), 9 The manuscript contains images of beggars and street performers and grotesques, all symbolizing the chaos and anarchy that was present in mediaeval society and feared by Sir Geoffrey Luttrell and his contemporaries. The Luttrell Psalter was composed by one scribe and at least five different artists, all of them with slightly different styles. The first Luttrell artist is referred to as "the decorator". He used a linear style of drawing rather than a two- dimensional approach.
|
|
The Neo-Gothic building was fully occupied when it opened in 1924. The observation tower had a 400x telescope and an 18 million candlepower searchlight intended to attract tourists. The grotesques on each corner are not functional; there are small holes in the mouths to let water escape and not freeze in the terracotta. Next to the Jackson Building was the 8-story Westall Building, also designed by Greene which was not large enough for its own elevator.
|
|
The world is one nation, the capital of which is Tahiti. Parenting has vanished, because most children are removed from their parents and taken to places where eugenics, genetic manipulation, and different forms of education give rise to somewhat human grotesques tailored for specific tasks. Corporations have enough power to influence government decisions to ensure good profit margins. The medical community manipulates people to ensure that they are seriously sick when they enter, and conducts medical experiments on animals.
|
|
The tower is built in the Romanesque Revival style, constructed of coursed, squared sandstone, and arranged in a square plan. On each side are two narrow full-height Romanesque arches, all with stepped surrounds and arch-bands, and linked by an impost band. Above the arches is a plain frieze with carved grotesques at the corners, topped with machicolated corbelling. The stone is a pale red and mottled form of Ormskirk Sandstone, probably extracted from nearby Ruff Wood.
|
|
Jim and Pat, for Gerard Gilbert of i, are like "two suburban grotesques straight out of a Mike Leigh drama". Maggie is unaware of the chaos around her, instead distracted by the tablet—on which she plays a game somewhere between Clash of Clans and MinecraftPemberton and Shearsmith, episode commentary, 22:30.—or retelling the birthday card joke. As a "Middle England suburban" comedy, "Nana's Party" is "all about the depths and heartaches lurking beneath apparently happy families".
|
|
In Britain in the aftermath of World War I, a notably large number of fantasy books aimed at an adult readership were published, including Living Alone by Stella Benson,Brian Stableford, " Re-Enchantment in the Aftermath of War", in Stableford, Gothic Grotesques: Essays on Fantastic Literature. Wildside Press, 2009, A Voyage to Arcturus by David Lindsay,"David Lindsay" by Gary K. Wolfe, (pp.541–548) in E. F. Bleiler, ed. Supernatural Fiction Writers. New York: Scribner's, 1985.
|
|
This work critiques the 'master' painter's gaze on the female form. The term 'master' was applied throughout the history of painting to an elite group of supposed male genii. These collages use images from these 'master' paintings to literally create grotesque female bodies of fetishized body parts. The use of the grotesque signifies the transgressing of boundaries, in which this transgression is a critical feature of the ‘grotesques' relationship with both the beautiful and the sublime.
|
|
Similar play to that found in grotesques such as these may also be found in very long moremovers (problems with the stipulation "White to play and checkmate Black in no more than n moves", where n is very high, sometimes over 100, known as longmovers), of which Ottó Bláthy was also a notable composer. To the right is a kind of problem quite closely related to these kinds of grotesques: this time it is White who has a clear material advantage, but it is difficult to make anything of it because of the locked pawn chain. This position in Forsyth-Edwards Notation (FEN) is : 8/8/8/1k3p2/p1p1pPp1/PpPpP1Pp/1P1P3P/QNK2NRR w - - 0 1 At first glance it seems there is nothing to be done—on moves like Rg2, White cannot make progress unless Black captures—but White does have one plan: to play Qa2 at an appropriate moment in order to threaten Qxb3. Doing this immediately does not work (Black simply promotes on a1 and it is Black who wins by ...Qa2–b3–c2 mate), but there is a way: :1.
|
|
This leads into her positioning of signs and signals as integral to the development of community and storytelling. The epistemology of storytelling is particularly important and examples range from simple gossiping to tragedies such as Hamlet. She is particularly interested in the link between popular theatrical grotesques and a call for change in the justice system in London at the time. The current importance of Spolsky’s work exists in her ability to draw information from biological, social, and literary history.
|
|
The grotesques convince him that Esmeralda's in love with him, which she's not. There's building up self-confidence and then there's just being cruel." Fonsbandusiae23 said "I'm sure a lot of people would agree with me when I say that you could take 'A Guy Like You' out of the soundtrack and let it drop into that fiery pit Frollo was ranting about, and we would rejoice and not mind one little bit." The Hunchblog simply said "I hate this song.
|
|
After reading it, he wrote to Miller, expressing intense admiration for his novel. Durrell's letter sparked an enduring friendship and mutually critical relationship that spanned 45 years. Durrell's next novel, Panic Spring, was strongly influenced by Miller's work,Karl Orend, "New Bibles", Times Literary Supplement 22 August 2008 p 15 while his 1938 novel The Black Book abounded with "four-letter words... grotesques,... [and] its mood equally as apocalyptic" as Tropic. In Corfu, Lawrence and Nancy lived together in bohemian style.
|
|
In ancient Rome, small stone statues depicting the Greco-Roman fertility god Priapus, also the protector of floors, were frequently placed in Roman gardens. Gnomes as magical creatures were first described during the Renaissance period by Swiss alchemist Paracelsus as "diminutive figures two spans in height who did not like to mix with humans". During this period, stone "grotesques", which were typically garishly painted, figurines, were commonly placed in the gardens of the wealthy. Among the figures depicted were ' (Italian for hunchbacks).
|
|
Timberlake Construction and Advanced Masonry, both of Oklahoma City, were charged with the task of rebuilding the turrets – this time with steel "bones" that could withstand an earthquake. The decorative aspects of the towers were faithfully recreated. The brick was matched to the rest of the building, and the grotesques and shields that were part of the original gothic architecture, were molded in the exact image of their predecessors. The new turrets were officially blessed during Homecoming on November 9, 2013.
|
|
Mercury is sometimes represented triphallically; see for instance Miranda Green, Symbol and Image in Celtic Religious Art (Routledge, 1989), p. 184. In The Sorrows of the Ancient Romans: The Gladiator and the Monster (Princeton University Press, 1993), p. 168, Carlin A. Barton associates polyphallic tintinnabula with the Medusa's head and other grotesques. bronze tintinnabulum; the tip of each phallus was outfitted with a ring to dangle a bell Roman sexuality as framed by Latin literature has been described as phallocentric.
|
|
In addition, grotesques shaped as griffins are present at various corners of the hotel. The building's exterior is made of Indiana Limestone, which encases the hotel's 28-story steel frame. Along with traditional features found on most Chateauesque-styled hotel, the building also incorporated an Art Deco setback and Romanesque-inspired decor. The balanced design of the building (prior to the addition of the east wing) was achieved through the application of semi-neoclassical motifs, and groups of arcaded windows.
|
|
81–85 Candid created cartons for this workshop. From these were woven three series of tapestries made up of about 50 hangings worked through with gold. The tapestries were a set of 12 Grotesques, 11 scenes from the Story of Otto von Wittelsbach, the founder of the House of Wittelsbach, and 18 tapestries depicting The Months, The Seasons and Day and Night. He also designed but did not make the cartons for a series of 12 tapestries depicting biblical and mythological scenes.
|
|
The ceiling of the room, known as Sala a Fogliami or "Room of Foliage," was painted in the 1560s by Camillo Mantovano. It owes its name to a luxurious decoration of the ceiling with trees, plants and flowers: a forest inhabited by numerous animals, frequently with predatory attitudes, and rich in symbolic meanings. In the lunettes surmounted by grotesques, complex figurations in the form of a rebus possibly allude to the long and troubled heresy trial suffered by the patriarch Giovanni Grimani.
|
|
The buildings, between naturalism, classicism, Egyptian and floral, present striking decorations: masks, grotesques, medallions, fringes and drops, shells, giant pilasters and large festoons of hops. This establishment, originally, exploited the aforementioned Fontana degli Ammalati, or a resurgence whose water was used for centuries for its healing qualities. The Carlo Cattaneo University of Castellanza Further down the valley there is the former Cotonificio Milani of Castiglione Olona. In addition to production facilities, this industrial complex includes a manor house and some workers' houses.
|
|
Timberlake Construction and Advanced Masonry, both of Oklahoma City, were charged with the task of rebuilding the turrets – this time with steel "bones" that could withstand an earthquake. The decorative aspects of the towers were faithfully recreated. The brick was matched to the rest of the building, and the grotesques and shields that were part of the original gothic architecture, were molded in the exact image of their predecessors. The new turrets were officially blessed during Homecoming on November 9, 2013.
|
|
The building has two street façades, each with six wide balconies bearing the coat of arms of the Melfi family, a frame of acanthus leaves from which a puttino leans. The balconies, a feature of the palazzo, are notable for the differing corbels which support them, ranging from putti to musicians and grotesques. The focal points of the principal façade are the three central balconies, divided by columns with Corinthian capitals. Here the balconies are supported by images of musicians with grotesque faces.
|
|
Grotesque: 350–300 BCE, musée du Louvre From the 4th century BC, the figurines acquired a decorative function. They began to represent theatrical characters, such as Julius Pollux recounts in his Onomasticon (2nd century CE): the slave, the peasant, the nurse, the fat woman, the satyr from the satyr play, etc. Figurine features might be caricatured and distorted. By the Hellenistic era, the figurines became grotesques: deformed beings with disproportionate heads, sagging breasts or prominent bellies, hunchbacks and bald men.
|
|
The reader becomes piqued by the grotesque's positive side, and continues reading to see if the character can conquer their darker side. In Shakespeare's The Tempest, the figure of Caliban has inspired more nuanced reactions than simple scorn and disgust. Also, in J. R. R. Tolkien's The Lord of the Rings, the character of Gollum may be considered to have both disgusting and empathetic qualities, which fit him into the grotesque template. Victor Hugo's Hunchback of Notre Dame is one of the most celebrated grotesques in literature.
|
|
Another well-known example may be seen at Kilpeck in Herefordshire, England. Such carvings are said to ward off death and evil.Andersen, Jorgen The Witch on the Wall (1977) Rosenkilde & Bagger Weir, Anthony & Jerman, James Images of Lust: Sexual Carvings on Medieval Churches, London: B. T. Batsford Ltd, 1986 Other grotesques, such as gargoyles and hunky punks, were frequently part of church decorations all over Europe. It is commonly said that their purpose was to keep evil spirits away through the use of apotropaic magic.
|
|
After intensive work over the fall and winter of 1925–26, the Cuxa cloisters were opened to the public on April 1, 1926. Stone pillars and capitals with grotesques The quadrangle-shaped garden once formed a center around which monks slept in cells. The original garden seemed to have been lined by walkways around adjoining arches lined with capitals enclosing the garth. It is impossible now to represent solely medieval species and arrangements; those in the Cuxa garden are approximations by botanists specializing in medieval history.
|
|
Sebastian Droste (born Willÿ Knobloch; 2 February 1898 – 27 June 1927)Hamburg, Germany, Deaths, 1874–1950 was a German poet, actor, and dancer associated with the underground art subculture of the Weimar Republic in the 1920s. Droste relocated from his hometown of Hamburg to Berlin in 1919. He earned a living as a naked dancer, choreographer and expressionist poet. His first poem appeared in Der Sturm that same year, and a further 15 poems and ‘grotesques’ of his were published in the journal between then and 1923.
|
|
Beginning with the Quadrangle Dormitories, Harrison and his architects remade the campus in an exuberant Neo-Jacobean Collegiate Gothic style. Maene's workshop provided expert architectural carving for the exteriors of the new buildings, including 69 grotesques (bosses) for the Quadrangle. These caricatures of people and animals were carved in situ--blank limestone blocks had been mortared in above the second story, and his crew stood upon scaffolding to carve them: War Memorial Tower (1901), Quadrangle Dormitories. > Take, for instance, a boss of a man holding a tankard.
|
|
The palazzo was built in the second half of the 18th century by the Baron Melfi di San Antonio. It was later acquired by the Zacco family, after which it is named. The building has two street façades, each with six wide balconies bearing the coat of arms of the Melfi family, a frame of acanthus leaves from which a putto leans. The balconies, a feature of the palazzo, are notable for the differing corbels which support them, ranging from putti to musicians and grotesques.
|
|
At the end of the wing in the photo there is a dovecote, a feature also found at Villa Barbaro. The dovecote of Villa Trissino is decorated with frescoes, indicating that even within the utilitarian portions of the villa, great care was given to create aesthetic beauty. The dovecote tower was frescoed with grotesques by Eliodoro Forbicini (a Veronese painter mentioned by Vasari), who also worked in Palladio’s Palazzo Chiericati and Palazzo Thiene. It is an evident sign that the building’s function was not just utilitarian.
|
|
The axis of the composition was set off by two monumental marble fireplaces in the form of wall porticoes, featuring statues of Apollo and Farnesian Heracles set against the shorter walls. The longer, white marbled walls decorated by vertical panneaux, painted by Jan Bogumił Plersh in the style of Raphael's grotesques in the Vatican. Gold was the dominant colour in all chambers, especially in Solomon's Hall. The plafond, bed-mouldings and both longer walls were filled with paintings by Marcello Bacciarelli illustrating the life of King Solomon.
|
|
Sánchez Cantón felt it was probably written around 1560, shortly before his death. In his "Commentaries" Felipe devotes a section to fresco painting, the grotesques, painting on canvas, encaustic, lighting, mosaics, and oil. He refers to the writings of Pliny the Elder regarding the invention of painting in encaustic by Aristides (although Guevara believes that it was used previously), and its perfection by Praxiteles. He also credits the ancients with the invention of oil painting, a technique that in the sixteenth century was considered of recent origin.
|
|
Neo-grotesque type began in the 1950s with the emergence of the International Typographic Style, or Swiss style. Its members looked at the clear lines of Akzidenz Grotesk (1898) as an inspiration to create rational, almost neutral typefaces. In 1957 the release of Helvetica, Univers, and Folio, the first typefaces categorized as neo-grotesque, had a strong impact internationally: Helvetica came to be the most used typeface for the following decades. Other, later neo-grotesques include Unica, Imago and Rail Alphabet, and in the digital period Acumin, San Francisco and Roboto.
|
|
Sant'Antonio Abate in Polesine (Ferrara) Only the convent church is open to the public. The church is in baroque style, with a 17th-century frescoed ceiling by Francesco Ferrari. The nuns' church has side chapels with frescoes of the school of Giotto—on the left, Storie dell'infanzia di Gesù e della Vita della Vergine done between 1315 and 1320. On the right is Storie della Passione—and a central chapel with frescoes of multiple periods, including an Annunciazione of Domenico Panetti (15th century) and a ceiling with 16th-century grotesques.
|
|
Polidoro's partner, Maturino da Firenze, has, like Penni, been overshadowed in subsequent reputation by his partner. Giovanni da Udine had a more independent status, and was responsible for the decorative stucco work and grotesques surrounding the main frescoes.Jones and Penny:147, 196 Most of the artists were later scattered, and some killed, by the violent Sack of Rome in 1527.Vasari, Life of Polidoro online in English Maturino for one is never heard of again This did however contribute to the diffusion of versions of Raphael's style around Italy and beyond.
|
|
Contemporary writers of literary grotesque fiction include Ian McEwan, Katherine Dunn, Alasdair Gray, Angela Carter, Jeanette Winterson, Umberto Eco, Patrick McGrath, Natsuo Kirino, Paul Tremblay, Matt Bell, Chuck Palahniuk, Brian Evenson, Caleb J. Ross (who writes domestic grotesque fiction), Richard Thomas and many authors who write in the bizarro genre of fiction. In 1929, G.L Van Roosbroeck wrote a book called "GROTESQUES" (illustrations by J. Matulka) published by The Williamsport Printing and Binding Co., Williamsport, PA. It is a collection of 6 stories and 3 fables for the children of tomorrow.
|
|
The works of this "first school of Fontainebleau" are characterized by the extensive use of stucco (moldings and picture frames) and frescos, and an elaborate (and often mysterious) system of allegories and mythological iconography. Renaissance decorative motifs such as grotesques, strapwork and putti are common, as well as a certain degree of eroticism. The figures are elegant and show the influence of the techniques of the Italian Mannerism of Michelangelo, Raphael and especially Parmigianino. Primaticcio was also directed to make copies of antique Roman statues for the king, thus spreading the influence of classical statuary.
|
|
The letterforms of Akzidenz-Grotesk show a "folded-up" structure with narrow apertures, similar to Didone serif typefaces popular in Europe at the time, such as the work of Justus-Erich Walbaum. Frutiger, a design intended for maximum legibility, shows a much more open design. Twentieth-century neo-grotesques such as Helvetica intensify the effect by making almost all terminals horizontal or vertical. Characteristics of this typeface are: lower case: A 'folded-up' structure with narrow apertures and strokes curled up towards the vertical, most obvious on letters such as c, e, s and a.
|
|
Like other theoreticians, he ascribed masculine and feminine qualities to the orders. In giving them an appropriate ornamentation that would agree with these qualities, he borrowed from older forms of ornament, including Gothic tracery. Dietterlin was dependent on many older models, and like other representatives of the Northern Renaissance (such as Hans Vredeman de Vries) he filled his surfaces with scrollwork, strapwork, gemshapes and grotesques. Dietterlin had Northern European contemporaries who likewise integrated Gothic elements in their designs, but he was unusual in the degree of blending of elements of different origin.
|
|
Monumental staircase Between 1563 and 1565 the barrel vault of the staircase leading to the portego or passing salon of the main floor was sumptuously decorated by a young Federico Zuccari, who had trained in Rome, with allegorical frescoes referring to the virtues of his client Giovanni, completed by grotesques and stucco reliefs with mythological creatures. The stuccos reproduce some antique cameos from the Giovanni Grimani collection. Overall, the grand staircase bears comparing to the Scala d'Oro of Palazzo Ducale and with the entrance to the Marciana Library.
|
|
He also painted along with Giorgio Vasari a series of frescoes in the Palazzo Vecchio representing the Life of Hercules.ICONOS: 11: Giove e Alcmena He painted an altarpiece representing the Martyrdom of St. Catherine of Alexandria (1580) in the church of Sant'Antonio in Faenza. Corrado Ricci describes him as an artist in Ravenna whose little narrative scenes, crowded with figures, and whose lively "grotesques" were appreciated and sought after both in Rome and Florence.Art in Northern Italy, by Corrado Ricci; editor: New York: Charles Scribner's Sons (1911); page 322.
|
|
These linked thematically with sculptures in the three niches set up in the north gable, the central figure there presumably being St Mary (to whom the priory was dedicated). Framed by this devotional tableau, the armorial display spreads across the whole width of wall above the entry archways. In five rows each of fourteen chequered squares, 35 shields of arms carved in high relief, with whimsical figures and grotesques crowding into their surrounds, alternate with carved fleurs-de-lys set into flushwork panels.The interpretation of these arms by David Elisha Davy (British Library, Davy Add.
|
|
Johnston's alphabet marked a break with the kinds of sans serif then popular, now normally known as grotesques, which tended to have squarer shapes inspired by signwriting and Didone type of the period. Some aspects of the alphabet are geometric: the letter O is a nearly perfect circle and the 'M', unlike Roman capitals (but like Caslon) straight-sided. As with most serif fonts, the 'g' is a 'two-storey' design. The 'l' copies the curl of the 't' and produces a rather wide letter compared to most sans-serif fonts.
|
|
Of this (wall section) remains a wall end all the way up to the right-hand foot of a doorway, without a doubt the pedestrian door, since this is the usual arrangement in Léon. The corps de logis which contains the remains of the lower-hall and upper-hall, also has a large magnificent Gothic dormer window, made of real stone lacing, with a double projection of formed crockets, creeping foliages, and grotesques on a high roofing of the era. Its elegant pediment with pinnacles is stamped with four escutcheons.
|
|
Ignudi, putti, satyrs, grotesques, and standing Atlas figures (Atlantes) help support the painted framework. Gian Pietro Bellori, a biographer of seventeenth-century artists and Platonic apologist, called the cycle "Human Love Governed by Celestial Love". This observation was based principally on Carracci's depiction of putti representing Cupid (equated by Bellori with profane love) and Anteros (equated with sacred love) found at the four corners of the vault. For example, Bellori writes: > The painter wished to represent with various symbols the war and peace > between heavenly and common love formulated by Plato.
|
|
The Sceptre of Scotland was a gift made in Italy from Pope Alexander VI to James IV in either 1491 or 1494 and was remodelled and lengthened in 1536. It is made of silver gilt and topped by a finial of polished rock. The sceptre includes grotesques and Christian symbols: stylised dolphins – symbols of the Church – appear on the head of the rod, as do images of the Virgin Mary holding a baby Christ, of Saint James the Great, and of Saint Andrew holding a saltire.Burnett and Tabraham, pp.
|
|
The 1915 book La patria y la arquitectura nacional by Federico Mariscal was influential in advocating viceregal architecture as integral to national identity. During the government of President Venustiano Carranza (serving 1917 to 1920), tax exemptions were offered to those that built houses in a colonial style. In the early 1920s there was a surge of houses built with Plateresque elements; such as grotesques, pinnacles and mixtilinear arches. Secretary of Education José Vasconcelos (who shaped the cultural philosophy of the post-Revolution government) was an active promoter of neocolonial architecture.
|
|
These plates are decorated with cut in interlace designs, which have been dated to the late eight or early ninth centuries. A fully three- dimensional figure of Christ crucified is at the centre of the main face, with relief plaques of saints and the Virgin and Child, and other scenes on the sides which combine principal figures in relief and others in engraving.Wallace; O'Floinn (2002), pp. 261–262, 270 The style is rather more sophisticated than in some 14th century reworkings, with elegant running animals or grotesques placed on small mounts at the corners.
|
|
The property in Eastleach Martin was built by the Bazley family late in the 19th Century on the site of an earlier 19th- century farmhouse. It was completed in 1900. Gardner Sebastian Bazley son of Sir Thomas Bazley built the house for his daughter as a wedding present, using stone from two ruined local houses: Blunsden Abbey (which, in particular, supplied the medieval grotesques which decorate the wings of the west elevation) and Paul's Castle. The house was originally called Ravens Hill Kelly's Directory 1935 until the name was changed by the present owner.
|
|
Theatre critic Kenneth Tynan wrote of the Professor in The New Yorker, "Corey is a cultural clown, a parody of literacy, a travesty of all that our civilization holds dear, and one of the funniest grotesques in America. He is Chaplin's tramp with a college education". Corey frequently appeared at the hungry i nightclub in the '50s and '60s, and remained the favorite comedian of club owner Enrico Banducci. Corey appeared with Banducci, Mort Sahl, Jonathan Winters, Bill Cosby, Jackie Vernon, and Maya Angelou in a 1981 televised tribute to the hungry i entitled The hungry i Reunion on PBS.
|
|
The great fresco of the Madonna and Child Enthroned with Saints Augustine, Francis, Anthony of Padua and a Holy Monk above the altar, with a lunette that shows the God the Father Blessing, is enclosed by a white marble frame with rich golden decorations. There are two arched windows on the two adjacent walls with splays decorated with grotesques. The first wall is decorated by the fresco of the Assumption of the Virgin Mary while last section is covered by the funeral monument of Giovanni Basso (†1483). That was created around 1485 by the workshop of Andrea Bregno.
|
|
Dylan concludes Highway 61 Revisited with the sole acoustic exception to his rock album. Gill has characterized "Desolation Row" as "an 11-minute epic of entropy, which takes the form of a Fellini-esque parade of grotesques and oddities featuring a huge cast of iconic characters". These include historical celebrities such as Albert Einstein and Nero, the biblical characters Noah and Cain and Abel, the Shakespearean figures of Ophelia and Romeo, ending with literary titans T.S. Eliot and Ezra Pound. The song opens with a report that "they're selling postcards of the hanging", and adds "the circus is in town".
|
|
This came after the revelation that historic grotesques were destroyed on the Elizabeth Street portion of the building. The controversy centred around the broken promise by the Planning Minister in the state government, Stirling Hinchliffe who said that the items would be preserved. A new "Save The Regent" group was formed in 2008, reminiscent of the original group formed in the 1970s. The group staged a public battle to save the Regent on the grounds that it continued to perform its original function, screening motion pictures, and that much of the original fabric remained at the site.
|
|
Gargoyles on the western façade The 51 gargoyles (or grotesques) on the western façade are dummies, in that they are decorative rather than drain spouts. There are, however, functional gargoyles on the lateral walls of the church and the walls of the apse. According to the account of the monk Étienne de Bourbon, the original gargoyles were in place for only a short time: they were removed around 1240, following a fatal accident. A usurer was killed on the church forecourt as he was about to get married: a stone figure representing a usurer became detached and fell on him.
|
|
It also features corner grotesques, three stepped lancet windows at entrance level and a further three lancet windows about halfway up. The whole of the front elevation features sections of high quality, intricate detailing within the larger expanse of stonework so as to give the impression of a restrained and simple form, but which seen close up is of higher quality than a standard church building of this size. All around the building are carved rosettes, a favourite of the architect. In terms of grounds, the church is set within a larger plot with a car park to the west side.
|
|
The song's lyrics continue to address the myth of sensitive artist versus venal society that informs several other songs from A-side of the album, such as "Maggie's Farm", "Outlaw Blues", and "Bob Dylan's 115th Dream". The song also reflects other songs on the album, such as "Maggie's Farm" in that resistance to society is enacted through self-exile, removal and denial. This is particularly reflected in the lyrics: The song also previews the comic grotesques that will become more prominent on songs in later albums. The song reflects a paranoid version of dread of dealing with in-laws.
|
|
Ed. Cátedra (1989). . This problem highlights the imprecision of the name Plateresque and the difficulties inherent in using it to describe productions from a period of confusion and transition between styles, especially since they are characterized by decorative profusion suggesting an attempt to disguise the failure of Spanish architects to develop new structural and spatial ideas. It has even been suggested that this problem could be solved by identifying what is called Plateresque as the replacement of Gothic decoration with grotesques inspired by the works of the Italian Sebastiano Serlio.Bassegoda Nonell, Juan; History of the architecture, p.
|
|
In The Wild Body Lewis anticipates the absurdism of Eugene Ionesco and the existentialism of Albert Camus in the savage, wretched effigies of poverty stricken Breton in Bestre and Brotcotnaz and the no less absurd sophistication of Sigismund and You Broke My Dream. The comedy of The Wild Body lies in the separation of mind and body, as with Henri Bergson's epistemology on the comic that states that a noble mind is invariably let down by the ridiculous human form. Lewis was informed by the grotesques of Leonardo Da Vinci and so this was reflected in the biting satire of his caricatures.
|
|
A statue and the plaque of the street The montée du Gourguillon has a length of 400 meters with a climb of 53 meters, which represents a slope of just over 7.5° on average. The street is wholly paved and has no sidewalk from its bottom to its intersection with the montée des Épies and has at regular intervals (every 10 meters) small steps over its entire length. The street is pedestrian but the residents can move and many cars are parked. Houses of the 15th century with decorated mullioned windows with fantastic animals and grotesques are still visible.
|
|
The small chapel is hexagonal with a sexpartite ribbed vault and the entrance is protected by an elegant marble parapet which is decorated by garlands, ribbons and patenas. The fresco decoration was painted by a helper of Pinturicchio, stylistically close to Melozzo da Forli. The side walls are articulated by painted Corinthian pilasters decorated with candelabra, flowers and garlands on a yellow background, resting on a fake monochrome pedestal. The ribs and the splays of the two arched windows were decorated with grotesques but only the right-hand window is preserved (the other was later walled up).
|
|
These are thought to be allegorical, and include four hieroglyphics in front of the old library that represent scholarly subjects: science, medicine, law, and theology. The other hieroglyphics have been assigned symbolism relating to virtues that should be encouraged by the college (e.g. the lion and pelican grotesques in front of the Senior Common Room representing courage and parental affection) or vices that should be avoided (the manticore, boxers, and lamia in front of the Junior Common Room, representing pride, contention, and lust). In 2017, repair work was undertaken to restore the severely damaged boxers statue.
|
|
The remaining west wing retains its pedimented gateway, which sheltered, in a niche at first floor level, an equestrian statue of Galiot de Genouillac. The courtyard frontage is decorated with two broad friezes, richly carved with emblems referring to the military achievements of Galiot de Genouillac, and to the legend of Hercules. Inside, a grand staircase, vaulted on intersecting ribs, leads up to a marble pillar, decorated with "grotesques", which is thought to be the work of Jean Goujon or one of his pupils. The interior comprises a series of vaulted rooms, decorated with martial trophies, and containing a small museum.
|
|
Clifton-Taylor considered that they are the finest in the country, although he complained that they have been stained nearly black. At the lower ends of the canopies are Victorian carvings of angels, grotesques and foliage and below these are carvings on corbels of subjects such as mermaids, centaurs, wyverns and musical angels. At the back of the choir stalls are 20 misericords which date from the early–mid 15th century. Under of each of these is a different carving; the subjects include Saint George and the Dragon, the Virgin and a unicorn, and a pelican with her brood.
|
|
Church exterior The village is famous for St Peter's Church, Tickencote, which possesses a superb Norman chancel arch and an unusual chancel roof vault. In the arch, five orders of shafts support seven orders of moulded arches with zig zag, billet, beak heads, grotesques, crenellations and all manner of leaves, animals and motifs. The arch has sunk in the last 900 years to give a rather depressed appearance. The church was partly rebuilt in neo-Norman style by Samuel Pepys Cockerell in 1792. From 1909–12 the vicar was the Venerable Lonsdale Ragg, later the Archdeacon of Gibraltar from 1934–45.
|
|
In an alley connecting Ragusa Ibla with Ragusa Superiore is the church of Santa Maria delle Scale. This church is interesting, though badly damaged in the earthquake. Only half the church was rebuilt in Baroque style, while the surviving half was kept in the original Norman (with Gothic features), thus demonstrating the evolution of Sicilian Baroque. A balcony of the Palazzo Zacco The Palazzo Zacco is one of the more notable Baroque buildings of the city, its Corinthian columns supporting balconies of amazing wrought iron work, while supports of grotesques mock, shock or amuse the passerby.
|
|
The work represents an important milestone for Caravaggio.Kimbell Art: Cardsharps He painted it when he was attempting an independent career after leaving the workshop of the Cavaliere Giuseppe Cesari d'Arpino, for whom he had been painting "flowers and fruit", finishing the details for the Cavaliere's mass-produced (and massive) output. Caravaggio left Arpino's workshop in January 1594 and began selling works through the dealer Costantino, with the assistance of Prospero Orsi, an established painter of Mannerist grotesques (masks, monsters, etc.). Orsi introduced Caravaggio to his extensive network of contacts in the world of collectors and patrons.
|
|
1 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 the elder Jean Bérain and were carried out to cartoons by Jean-Baptiste Monnoyer, a painter attached to the Gobelins factory, were based on fanciful grotteschi. Against mustard yellow grounds vases and baskets of fruit with birds, a specialty of Monnoyer's, are contrasted with lively figures, sometimes acrobats and dancers, sometimes from the Commedia dell'arte in slender and fanciful arabesque architecture. Behagle continued his private workshops in Paris, as had his predecessor.
|
|
Griset's parents moved to England from France in 1848. He studied for a while under the Belgian artist Louis Gallait before moving back to England, then regularly drew the animals at the London Zoo as a basis for his paintings and illustrations.Walter Crane, An Artist’s Reminiscences. New York: Macmillan, 1907, p.59 He became known particularly for his humorous and satirical designs, which were best displayed in his two Christmas books, Griset’s Grotesques, or Jokes Drawn on Wood (1867), which was accompanied by the comic verses of Tom Hood;See specimen pages at Full Table.com and an illustrated edition of Aesop’s Fables (1869).
|
|
Robinson had appeared in films as early as 1938, starting in a short in the series Ghost Tales Retold and following it ten years later with A Piece of Cake starring Cyril Fletcher. He successfully made the transition from Variety and radio into TV and films. In the latter, he nearly always played small but memorable cameo parts, thus an early theatrical review mentioned "Mr Cardew Robinson, who seems to specialise in grotesques". Unusually, in the 1956 film Fun at St Fanny's he had one of the main roles playing himself and received second to top billing.
|
|
Grotesques were a speciality of the city of Smyrna, but also produced throughout the Greek world, including in Tarsus and Alexandria. Tanagra figurines were a mold-cast type of figurine produced from the later fourth century BCE, primarily in the Boeotian town of Tanagra. They were coated with a liquid white slip before firing, and were sometimes painted afterwards in naturalistic tints with watercolors, such as the "Dame en Bleu" ("Lady in Blue") at the Louvre. Tanagra figures depict real women, and some men and boys, in everyday costume, with familiar accessories such as hats, wreaths or fans.
|
|
The "handsome and boldly-carved design" includes pilasters with lions on the bases flanking paired double doors with arched heads and satyrs in the spandrels, and also incorporates carved cherubs and grotesques, and painted panels to the external (landing) face; it is surmounted by a central emblem. The carved wooden panelling above the stone fireplace incorporates four painted portraits, including Henry VIII and Sir George Cotton, and dates from the 16th and 17th centuries. The remaining panelling in the library is not original. The hammerbeam roof is concealed by a decorated plasterwork ceiling, probably dating from the 17th century.
|
|
As says in Dick Tracy and American Culture, "Fosdick's square jaw was even more pronounced than Tracy's, violence was used much more gratuitously in Fosdick than in Tracy (and rarely with any meaning), grotesques were even more outrageous." Cartoonist Al Capp (1909–1979) would often use Li'l Abner continuity as a narrative framing device, bookending the offbeat Fosdick sequences. Abner himself serves as a rustic Greek chorus--to introduce, comment upon and (sometimes) comically sum up the Fosdick stories. Typically, an anxious Abner would race frantically to the mailbox or to the train delivering the morning newspapers, to get a glimpse of the latest cliffhanger episode.
|
|
The Van Belle triptych was partially influenced by the statue of the Madonna with Child by Michelangelo at the Church of Our Lady in Bruges. Portraits of Christoffel Ghuyse and Elisabeth Van Male, 1560, 51 × 51.3 cm, Groeningemuseum Brugge Pourbus' 1558 Pietà at the Église Saint-Maurice in Annecy and his Adoration of the Golden Calf, painted around 1559, are also examples of his many religious works. Pourbus and his painting style soon became the leading representative of the Italian High Renaissance as propagated in Antwerp by Frans Floris. One example of this style is the grotesques in which he depicted the portraits of Ghuyse- Van Male and his wife.
|
|
Thomson was educated first at the Parish school of Southdean then at Jedburgh Grammar School and Edinburgh University where he was a member of "The Grotesques" literary club; some of his early poems were published in the Edinburgh Miscellany of 1720. Seeking a larger stage, he went to London in 1725, and became the tutor of Thomas Hamilton (who became the 7th Earl of Haddington) in Barnet. There he was able to begin Winter, the first of his four Seasons. Blank verse had been considered more of an interesting toy than anything useful to poetry, despite John Milton's epic-scale Paradise Lost and Paradise Regained half a century earlier.
|
|
More specifically, the grotesque forms on Gothic buildings, when not used as drain-spouts, should not be called gargoyles, but rather referred to simply as grotesques, or chimeras.Bridaham, Lester Burbank, introduction by Ralph Adams Cram, “Gargoyles, Chimeres and the Grotesque in French Gothic Sculpture”, Architectural Book Publishing Co., Inc. New York, 1930 p. xiv The English word first appears in the 1560s as a noun borrowed from French, and comes originally from the Italian grottesca (literally "of a cave" from the Italian grotta, 'cave'; see grotto), an extravagant style of ancient Roman decorative art rediscovered at Rome at the end of the fifteenth century and subsequently imitated.
|
|
Counter Reformation writers on the arts, notably Cardinal Gabriele Paleotti, bishop of Bologna,Paleotti, Discorso intorno alle imagini sacre e profane (printed at Bologna, 1582) turned upon grottesche with a righteous vengeance.Noted by Summers 1972:152. Vasari, echoing Vitruvius, described the style as follows: > "Grotesques are a type of extremely licentious and absurd painting done by > the ancients ... without any logic, so that a weight is attached to a thin > thread which could not support it, a horse is given legs made of leaves, a > man has crane's legs, with countless other impossible absurdities; and the > bizarrer the painter's imagination, the higher he was rated".
|
|
Southern Gothic is a genre frequently identified with grotesques and William Faulkner is often cited as the ringmaster. Flannery O'Connor wrote, "Whenever I'm asked why Southern writers particularly have a penchant for writing about freaks, I say it is because we are still able to recognize one" ("Some Aspects of the Grotesque in Southern Fiction", 1960). In O'Connor's often-anthologized short story "A Good Man Is Hard to Find", the Misfit, a serial killer, is clearly a maimed soul, utterly callous to human life but driven to seek the truth. The less obvious grotesque is the polite, doting grandmother who is unaware of her own astonishing selfishness.
|
|
Designed by Jean Omer Marchand and John A. Pearson, the Centre Block is a long by deep, and six storey high, symmetrical structure built in the modern Gothic Revival style. As such, it displays a multitude of stone carvings, including gargoyles, grotesques, and friezes, keeping with the Victorian High Gothic style of the rest of the parliamentary complex. The walls are faced with more than 50,000 blocks of over 24 different types of stone, though a rustic finished Nepean sandstone is the predominant kind of masonry, with dressed stone trim around the 550 windows and other edges. The roof is of reinforced concrete covered with copper, and dotted with dormer windows.
|
|
The high school campus is located on the north side of Huttleston Avenue (United States Route 6), a short way east of the Acushnet River and New Bedford Harbor. Its main building is a monumental masonry structure in an H-shaped layout, with two full stories, full basement, and a third floor and attic under its pitched slate roofs. It is predominantly brick, with an ashlar granite foundation and limestone belt courses. Designed by architect Charles Brigham, it is reminiscent of Tudor architecture with Gothic influences, with a picturesque roofline studded with gables topped by iron finials, and rich carved stonework including gargoyles, grotesques, and depictions of historic figures.
|
|
The entrance tower contains a series of windows with decorated jambs that extend from the front door to the most decorated dormer at Biltmore on the fourth floor. The carved decorations include trefoils, flowing tracery, rosettes, gargoyles, and at prominent lookouts, grotesques. The staircase is one of the more prominent features of the east facade, with its three-story, highly decorated winding balustrade with carved statues of St. Louis and Joan of Arc by the Austrian-born architectural sculptor Karl Bitter. The south facade is the house's smallest and is dominated by three large dormers on the east side and a polygonal turret on the west side.
|
|
By the mid-1950s, monotypes began to predominate in his oeuvre, mostly created on sheets of glass and increasingly abstractions of the human figure. The overt literary based subjects, and the more personal grotesques and composites of forms were replaced by simplified, though often interlocking forms, usually on a flat background. Hilde seems to have coped with their daughter’s death by returning to the weaving of her early years, and produced large woolen tapestries that exactly duplicated the form of individual Neumann prints. The artist also starts to give individual instruction to a number of students, and began to exhibit with groups of mostly younger artists.
|
|
Also in the vicinity is the 4.5 m-wide (15 ft.) divided stairway, leading to a landing branching east and west to what used to be the county and city divisions of the building. Stucco pillars were shaped by Italian craftsmen. Surviving original interior includes detailing in wood, plaster, iron, bronze and marble, including a mosaic floor laid by Jacomo Bespirt and family, columns with plaster capitals, faux-marble finishes, woodwork, wrought-iron grotesques and gas lamp standards, and door knobs bearing the city's old coat of arms. The main hall in its day was said to be the city's grandest indoor space, amazing visitors.
|
|
Van Alsloot started out in the same profession as his father as a designer of cartoons for the local tapestry works in Brussels. Denys van Alsloot, Summer Landscape with a Lady and Gentleman and Seated and Sportsmen returning with Game, in: Dutch and Flemish Old Master, at Johnny Van Haeften In 1603 he designed a series of tapestries of Grotesques for the Archdukes.Thomas P. Campbell, Pascal-François Bertrand, Jeri Bapasola, 'Tapestry in the Baroque: Threads of Splendor', Metropolitan Museum of Art (New York, N.Y.), Metropolitan Museum of Art, 1 Jan 2007, p.68 Forest landscape with a distant castle His painting career seems to have started around 1606.
|
|
The wall-lights are identifiable in the Wallace Collection, London, by their stamped royal inventory numbers. He had received his training in the workshop of Pierre Gouthière, the outstanding Parisian ciseleur-doreur working in the Louis XVI style, before establishing his own shop in 1776. He gradually assumed the leading position of his former master. In 1784 a pair of Sèvres vases with Raphaelesque grotesques in violet on a white ground, made in 1782 were mounted with gilt-bronze goats as handles, which Pierre Verlet recognized in a memorandum delivered by Thomire, who was responsible for modelling in wax, casting, matte gilding and mounting on the porcelain.
|
|
The Battle of Higueruela (detail) by Orazio Cambiasi, Fabrizio Castello, Luca Cambiasi and Lazzaro Tavarone, in the Gallery of Battles at the Royal Monastery of San Lorenzo de El Escorial Orazio Cambiasi, also Orazio Cambiaso, was an Italian Baroque painter of the Genoese school of the late sixteenth and early seventeenth century. Cambiasi was born to the painter Luca Cambiaso, who trained him. He specialized in frescos decorative painting grotesques. In 1583 he accompanied Lazzaro Tavarone to Spain, where his father was appointed Painter to the King to King Philip II, and commissioned for the frescoes in the choir of the Royal Monastery of San Lorenzo de El Escorial.
|
|
Callot led the way in exploiting the new possibilities; most of his etchings are small but full of tiny detail, and he developed a sense of recession in landscape backgrounds in etching with multiple bitings to etch the background more lightly than the foreground. He also used a special etching needle called an échoppe to produce swelling lines like those created by the burin in an engraving, and also reinforced the etched lines with a burin after biting; which soon became common practice among etchers. Callot etched a great variety of subjects in over 1400 prints, from grotesques to his tiny but extremely powerful series Les Grandes Misères de la guerre.Hind (1923), 158–160.
|
|
The architects designed the crypt chapels in Norman, Romanesque, and Transitional styles predating the Gothic, as though the cathedral had been built as a successor to earlier churches, a common occurrence in European cathedrals. 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 second of these produced the famous Darth Vader grotesque which is high on the northwest tower, sculpted by Jay Hall Carpenter and carved by Patrick J. Plunkett.
|
|
The façade is developed with marked horizontality articulated by a precise architectural composition, distributed in five modules. The structure has two floors, surmounted in places by a third, covered with Plateresque reliefs. These vibrant sculptural carvings include Florentine grotesques; heraldic shields; emblems alluding to justice, harmony and good government; and representations of characters linked to the city, such as Hercules, Julius Caesar (who created the first Cabildo), and the Emperor Charles V (who made Seville one of the capitals of his empire). The carving was carried out by artists from many different places, including Juan de Begines, Diego Guillén Ferrant, Hernando de la Teja, Pedro de Pamanes, Pedro de Guadalupe and Toribio de Liébana.
|
|
On the bench there is a card that alludes to the bishop and various adornments of grotesques and vegetal motifs, in the first body in the central part there is a large shield with the bishop's arms and two niches on both sides with the images of St. Andrew and St. Francis, the second body inside a niche is the image of Bishop Fadrique kneeling in the company of two clerics, with two other images on the side streets also inside niches of St. Peter and St. Paul, on this body there is a relief of a Pieta and on both sides the shields of the patron and to finish in the attic a polychrome Calvary.
|
|
Booloominbah possesses State aesthetic and technical heritage significance in the innovative manner in which Horbury Hunt adapted the country house form and Arts and Crafts style to Australia's climate. Hunt sympathetically incorporated verandahs, particularly evident on the southern elevation where the simple horizontal verandah provides ample shade in the summer, while contrasting with the vertical gabling of the roofline. Aesthetically the verandah adds to the State significance as the most ornately decorated example of Hunt's work, with a skirt of shingles and highly visible and beautifully executed wooden grotesques on the beam ends. Booloominbah exhibits State aesthetic significance as a restored example of the collaborative efforts of owner, architect and decorating firm in displaying the wealth of the client.
|
|
The West Block Designed by Thomas Stent and Augustus Laver, the West Block is an asymmetrical structure built in the Victorian High Gothic style, with load bearing masonry walls, all clad in a rustic Nepean sandstone exterior and dressed stone trim around windows and other edges, as well as displaying a multitude of stone carvings, including gargoyles, grotesques, and friezes, keeping with the style of the rest of the parliamentary complex. The West Block adds to the Ottawa skyline three prominent towers: the Mackenzie Tower (added in 1878), the Laurier Tower (added in 1906), and the Southwest Tower. The interim House of Commons Chamber, built in West Block's old courtyard, during a dry run in January 2019.
|
|
It was here Anne Marie died in 1728. Anne Marie's eldest daughter Maria Adelaidemother of Louis XV of France came here and tried to recreate it at Versailles at the Ménagerie. Polyxena of Hesse-Rotenburg, daughter in law of Anne Marie, did some work in the main saloon of the building when she became the owner of the villa in 1728 at the death of Anne Marie. Inside there are frescoes and paintings by Giovanni Battista Crosato, Daniel Seyter and Corrado Giaquinto in the main room, grotesques of Filippo Minei and paintings by the brothers Domenico and Giuseppe Valeriani in the near rooms; there are also precious Chinese Cabinets in lacquer and golden wood.
|
|
Following the path of many artists, Neumann was usually only interested in his recent work, and would have destroyed much of his early production, had his wife not interfered and stored them in the studio. When friends and family came to see him from elsewhere, they never even saw the earlier work. Yet, many scholars and members of the artistic community regarded the Dante pieces, the early grotesques, and the oil portraits highly. Later, after the war, and increasingly through the 1960s, younger artists identified with the late works that were so abstracted from nature that the viewer with no knowledge of the trajectory of Neumann’s career might simply have identified them as non-objective.
|
|
The National Cathedral was declared completed in 1990, almost nine decades after the cornerstone was laid, though restoration, elaboration, and intense maintenance continue to the present day. Seferlis’ contributions to the Cathedral take the form of limestone gargoyles, grotesques, capitals, pinnacles, saints, angels, keystones, bosses, column capitals, and freestanding figural sculptures of historical personages such as Helen Keller and Pope John XXIII. The Smithsonian Castle on the National Mall In addition to the Shrine and the Cathedral, Seferlis enthusiastically undertook a number of high-profile restoration projects on both public and private buildings. He carved elaborate capitals used in restoring the Corinthian columns of the east front of the U.S. Capitol building.
|
|
It was commissioned to be inserted into the room's wooden paneling, alongside works by other artists, in the manner of the slightly earlier Marriage Chamber in Florence's Palazzo Borgherini, to which Pontormo also contributed. The other works in the antechamber were Franciabigio's Bathsheba Bathing (Gemäldegalerie, Dresden) and Bacchiacca's Legend of the Dead King's Son (Gemäldegalerie, Dresden) and Baptism of Christ (Gemäldegalerie, Berlin), all surmounted by a larger work, Andrea del Sarto's Saint John the Baptist as a Boy (Galleria Palatina, Florence). Elisabetta Marchetti Letta, Pontormo, Rosso Fiorentino, Scala, Firenze 1994. The work's landscape, crowds and grotesques evoke contemporary North European prints by artists such as Lucas van Leyden and Dürer, then circulating as far as Florence and beyond.
|
|
The Institute is housed in the purpose-built Sir Llew Edwards Building, a $42 million investment which involved three years of planning, design and construction and was completed in 2008. The building has won numerous architectural awards including the Australian Institute of Architects best public building in Queensland award for 2009. The Institute is located at the St Lucia campus of The University of Queensland, 7 kilometres from the Brisbane central business district. At its centre is the heritage-listed Great Court – a 2.5 hectares (6.2 acres) open area surrounded by Helidon sandstone buildings with grotesques of great academics and historic scenes, floral and faunal motifs and crests of universities and colleges from around the world.
|
|
Gallery of Battles at the Royal Monastery of San Lorenzo de El Escorial. Fresco decoration carried out between 1585 and 1591 by a team of artists led by Niccolò Granello Niccolò Granello, also Nicholas Granello and Granelo Nicolao (1553 - 30 November 1593), was an Italian painter established in Spain, specialized in frescos decorative painting grotesques. Son of the first marriage of Giovanni Battista Castello ("Il Bergamasco"), Granello came to Spain while still a child, around 1567, accompanying his stepfather, and called by Álvaro de Bazán, 1st Marquis of Santa Cruz to work on his palace in Viso del Marqués. In 1571, his father died and he was appointed painter to the king for King Philip II of Spain.
|
|
Carpentier was an admirer of the elegance and wit in the work of satirical French writers and artists of the eighteenth century, and often employed grotesques in his descriptions to ridicule the ostentation of colonial aristocracy. Examples include Ti Noel's comparison of wax heads at a barber's shop to white men's heads being served at a banquet, or the portrayal of the decadence of Mademoiselle Floridor, a fourth-rate actress who performs for slaves as an outlet for her desire to act. Carpentier further satirizes the pomp of those in power through a series of details of protocol and ceremony whose cumulative effects ridicule the object of description, as is the case with Henri Christophe's chambers.
|
|
The style of fanciful arabesque which he formed for himself from these studies gained the name of "grottesche", whence comes the term grotesque; not, indeed, that Morto was the first painter of arabesque in the Italian Renaissance, for art of this kind had, been developed, both in painting and in sculpture, towards 1480, but he may have powerfully aided its diffusion southwards. His works were received with much favor in Rome. He afterwards went to Florence, and painted some fine grotesques in the Palazzo Pubblico and trained Andrea di Cosimo. Returning to Venice towards 1505, he assisted Giorgione in painting the Fondaco dei Tedeschi, and seems to have remained with him till 1510.
|
|
Almost everything fits into this "domestic inventory": "what is at stake are the disasters and the grotesques of a bourgeoisie, our own one, with its emblems and heroes". João Abel "points at History, at the monument and in particular at the provincial procession of our intellectual bourgeoisie".PIRES, José Cardoso – João Abel Manta. In: MANTA, João Abel – João Abel Manta: obra gráfica. Lisbon: Rafael Bordalo Pinheiro Museum, 1992, p.24. His political intervention is intensified in 1974 and 1975, straight after the fall of the dictatorship, hurling himself into "the battle with redoubled keenness, multiplying himself in caricatures, posters and hoardings with a markedly revolutionary orientation", and becoming the "maximum artist, perhaps the only one, after all, that the April revolution called upon".
|
|
A few months later the Lower Belvedere reopened with the show Vienna – Paris. The redesign of the building was carried out by the Berlin architect Wilfried Kuehn, who moved the entrance back to its place in the cour d’honneur, thereby once more freeing up the original line of vision from the main gate of the Lower Belvedere via the Marble Hall to the garden facade of the Upper Belvedere. The various sections of the original orangeries annexed to the Marble Hall were returned to their original condition and now provide space for the new exhibition rooms. The magnificent Baroque state rooms – the Marble Gallery, the Golden Room, and the Hall of Grotesques – remain unchanged and are open to the public.
|
|
Printed works by or based on Burnacini's designs are scattered throughout libraries, museums and archives around the world. The approximately 410-sheet collection of original drawings from his artistic estate is preserved in the holdings of the Theatermuseum in Vienna. Thematically, this collection is divided into two large series. The first one, including numerous costume designs for festivities of the court (called Maschere by Burnacini, with inventory code Min 20); the second one (with inventory code Min 29) is far more heterogeneous and includes figurines for the Commedia dell'arte and grotesques, theater decorations, drafts for floats, festive sleighs as well as allegorical, mythological, sacral compositions and figures, architectural designs for various buildings and monuments, designs for centerpieces, candelabras and ceremonial vessels, nature studies, landscapes and genre scenes.
|
|
In art, grotesques are ornamental arrangements of arabesques with interlaced garlands and small and fantastic human and animal figures, usually set out in a symmetrical pattern around some form of architectural framework, though this may be very flimsy. Such designs were fashionable in ancient Rome, especially as fresco wall decoration and floor mosaic. Stylized versions, common in Imperial Roman decoration, were decried by Vitruvius (c. 30 BC) who, in dismissing them as meaningless and illogical, offered the following description: > For example, reeds are substituted for columns, fluted appendages with curly > leaves and volutes take the place of pediments, candelabra support > representations of shrines, and on top of their roofs grow slender stalks > and volutes with human figures senselessly seated upon them.
|
|
In the meantime, through the medium of engravings the grotesque mode of surface ornament passed into the European artistic repertory of the 16th century, from Spain to Poland. A classic suite was that attributed to Enea Vico, published in 1540-41 under an evocative explanatory title, Leviores et extemporaneae picturae quas grotteschas vulgo vocant, "Light and extemporaneous pictures that are vulgarly called grotesques". Later Mannerist versions, especially in engraving, tended to lose that initial lightness and be much more densely filled than the airy well-spaced style used by the Romans and Raphael. Soon grottesche appeared in marquetry (fine woodwork), in maiolica produced above all at Urbino from the late 1520s, then in book illustration and in other decorative uses.
|
|
" Istrian writer Saša Šebelić says: "Despite what the title suggests, it is not a horror genre, but pure speculative fiction, in which the author summarizes and describes, without condemning, not disgusting, the vices of modern, hybrid times, decadence and amorality who as a patina has settled in this world and is all around us, not bypassing even professions that are expected to have at least a minimum of ethics."„Ogledalo za vampira pleni pažnju hrvatske publike”. Vesti.rs. 5. 6. 2012. (Serbian) The poet and prose writer Slobodan Škerović wrote about Sarajlija's novel: "The extraordinarily rich, exotic and receptible scenery is imbued with the carnival-like, unbridled humor that Sarajlija's grotesques speak. In this debut novel, the eloquence, insight and mastery of Adrijan Sarajlija came to the fore.
|
|
A 2008 view from Hyde Park Terrace, including entrances and severely blackened tower Externally, the church is constructed in rock-faced gritstone, with ashlar details and a pitched slate roof. The building was designed by local architect James Fraser and is in the Gothic Revival style. Though blackened by pollution damage, the exterior is noted for a tall southeastern tower of three stages, with shallow corner buttresses, a pair of lancet windows and carved corbels in the form of angels and grotesques, with an octagonal bell stage, surmounted by a tall stone spire, considered to be a significant local landmark. The elegant Victorian interior is a five-bay nave with a floor of red and black tiles, polished marble columns, foliate capitals and chamfered pointed arches.
|
|
Throughout Lady Friday, Saturday disrupted travel and communications (though with less success, since the latter is under the authority of the Lower House and the Far Reaches) throughout the House and attempted to assert definitive control over the Middle House by using Lord Sunday's tacit approval and authority. It has recently been revealed that she is responsible for the brainwashing practice known as "washing between the ears", thus subtly explaining its regularity. Her Noon and Dusk are suspected of committing many heinous deeds, such as the murder of both the former Trustees Mister Monday and Grim Tuesday (however, it was later revealed that Dame Primus was responsible), and Grim's Grotesques. Saturday was also behind the creation of the Skinless Boy in Sir Thursday.
|
|
Troso da Monza, also called Troso di Giovanni Jacobi, was an Italian painter of the Quattrocento, active around 1444 in Monza and Bergamo. Some frescoes originally in the church of Santa Marie delle Grazie in Bergamo have been attributed to Troso, where he appears to have collaborated with Giacomo Georgi de' Scannardi.A History of Painting in North Italy: Venice, Padua, Vicenza, Volume 2, by Joseph Archer Crowe, Giovanni Battista Cavalcaselle, page 535. Giovanni Paolo Lomazzo, in his Treatise on Painting, Sculpture and Architecture, has a chapter on the composition of grotesques, stating Troso da Monza has drawn a book full of so many different and powerful grotesque figures that I believe that there are no longer any more left to invent.
|
|
Pinnacled buttresses are employed throughout, those of the transepts being provided with niches and full-length grotesques. The apex of each gable carries a cross. The crossing tower is of three stages, the lower stage (corresponding to the roofs) blank, the second with only very thin single lancets, and the upper with four large blank arches filling each side. From this rises a Perpendicular spire embraced at its base by an arcaded octagonal screen, tied by thin flying buttresses to corner pinnacles on the tower. Jenkins praises this as ‘a device of great delicacy’, and the whole composition as perfect in proportion with the nave and transepts. Pevsner calls the spire ‘one of the finest in the country, not at all showy, but wonderfully satisfying’.
|
|
When he reviewed the Highway 61 Revisited album for The Daily Telegraph in 1965, the English poet Philip Larkin described the song as a "marathon", with an "enchanting tune and mysterious, possibly half-baked words". For Andy Gill the song is "an 11-minute epic of entropy, which takes the form of a Fellini-esque parade of grotesques and oddities featuring a huge cast of iconic characters, some historical (Albert Einstein, Nero), some biblical (Noah, Cain and Abel), some fictional (Ophelia, Romeo, Cinderella), some literary (T.S. Eliot and Ezra Pound), and some who fit into none of the above categories, notably Dr. Filth and his dubious nurse." According to the music historian Nicholas Schaffner, "Desolation Row" was the longest popular music track, until the Rolling Stones released "Goin' Home" (11:35) in 1966.
|
|
146 Also the frames of the yard's doors and windows have been put in place again, but the 16th century doric frieze of the rooms, belonging to the school of the Zuccaris, and the wood ceiling of the ducal room have been lost. Other mannerist elements of the decoration, like grotesques interspersed with landscapes, have been detached and are now on display at the Museo di Roma. Also lost in the 1930s reconstruction were other elements which had given to the original palace a "bellicose" effect, as the grilles protecting the ground floor's windows, the loopholes lighting up two peperino-made secret stairs, once visible from vicolo di Messer Traiano, and the lookout towers above the roof. According to Pernier, all these elements suggest a military architect as the designer of this palace.
|
|
82 where they went to live, she acquired a large knowledge of both services in the circle of naval and military friends they made there, and this knowledge years afterward she turned to good account in her novel Between Two Thieves. Educated at a Convent in Lourdes, she converted to Catholicism and came to London where she studied art at Bloomsbury. She was an unusual figure in London society, wearing her hair short, affecting a masculine manner and cut of costume, and smoking cigarettes in public when such characteristics were considered eccentric. In 1884, Clotilde Graves became an art student and worked at the British Museum galleries and the Royal Female School of Art, helping to support herself by journalism, among other things drawing little pen-and-ink grotesques for the comic papers.
|
|
Kupferschmid and Reynolds speculate that he was misled by Akzidenz-Grotesk appearing in a Theinhardt foundry specimen after Berthold had taken the company over. Reynolds additionally points out that Theinhardt sold his foundry to Oskar Mammen and Robert and Emil Mosig in 1885, a decade before Akzidenz-Grotesk was released, and there is no evidence that he cut any further fonts for them after this year. As Lange commented, it was claimed in the post-war period that Royal-Grotesk's name referred to it being commissioned by the Prussian Academy of Sciences, but Kupferschmid was not able to find it used in its publications. A German banknote from 1918, using a range of sans-serifs of the period Many other grotesques in a similar style to Akzidenz-Grotesk were sold in Germany during this period.
|
|
For Ruskin, the Gothic style in architecture embodied the same moral truths he sought to promote in the visual arts. It expressed the 'meaning' of architecture—as a combination of the values of strength, solidity and aspiration—all written, as it were, in stone. For Ruskin, creating true Gothic architecture involved the whole community, and expressed the full range of human emotions, from the sublime effects of soaring spires to the comically ridiculous carved grotesques and gargoyles. Even its crude and "savage" aspects were proof of "the liberty of every workman who struck the stone; a freedom of thought, and rank in scale of being, such as no laws, no charters, no charities can secure."John Unrau, "Ruskin, the Workman and the Savageness of Gothic", in New Approaches to Ruskin, ed Robert Hewison, 1981, pp.
|
|
A large cast of characters, largely composed of misfits and grotesques, is introduced, one of which is a dimwitted young man named Gene Harrogate, whom Suttree meets during a short stint in a work camp-style prison. Harrogate was sent to prison after being caught "violating" a farmer's watermelons. Suttree attempts to help Harrogate stay out of trouble after he is released, but this task proves to be in vain as Harrogate sets off on a series of misadventures, including using poisoned meat and a slingshot to kill bats ("flitter-mice" as Harrogate calls them) to earn a bounty on them, and using dynamite in an attempt to tunnel underneath the city and burgle the treasury. Other prominent characters are prostitutes, hermits, alcoholics, and an aged Geechee witch.
|
|
The building's exterior is defined by its characteristic pink-hue sandstone. Designed by Richard A. Waite, the Ontario Legislative Building is an asymmetrical, five-storey structure built in the Richardsonian Romanesque style, with a load-bearing iron frame. This is clad inside and out in Canadian materials where possible; the 10.5 million bricks were made by inmates of the Central Prison, and the Ontario sandstone—with a pink hue that has earned the building the colloquial name of The Pink Palace—comes from the Credit River valley and Orangeville, Ontario, and was given a rustic finish for most of the exterior, but dressed for trim around windows and other edges. There can also be seen over the edifice a multitude of stone carvings, including gargoyles, grotesques, and friezes.
|
|
Elements of a Gothic treatment of the South were first apparent during the ante- and post-bellum 19th century in the grotesques of Henry Clay Lewis and in the de-idealized representations of Mark Twain. The genre was consolidated, however, only in the 20th century, when dark romanticism, Southern humor, and the new literary naturalism merged in a new and powerful form of social critique. The thematic material was largely a reflection of the culture existing in the South following the collapse of the Confederacy as a consequence of the Civil War, which left a vacuum in its cultural and religious values. The resulting poverty and lingering bitterness over the issue of slavery in the region during Reconstruction exacerbated the racism, excessive violence, and religious extremism endemic to the region.
|
|
Josias English was an amateur etcher. He was originally thought to have died in 1718, but upon the discovery of his will it transpired his death actually occurred in 1705. English was a gentleman of independent means who resided at Mortlake which was then in Surrey and is now a district of London. He was an intimate friend and a pupil of Francis Cleyn, the manager of the Mortlake Tapestry Works, and etched numerous plates in the style of Wenceslaus Hollar, after Cleyn's designs; these include a set of eleven plates, etched in 1653, entitled "Variæ Deorum Ethnicorum Effigies, or Divers Portraicturs of Heathen Gods", a set of four representing "The Seasons", a similar set of "The Four Cardinal Virtues", and a set of fourteen plates of grotesques and arabesques.
|
|
Copies of these were made by Cleyn's sons, Francis and John, and they were worked into tapestry at Mortlake. These and the other productions of the Mortlake manufactory were held in high estimation, especially in France, and dispersed over the continent. A set of six pieces, representing the history of Hero and Leander from Cleyn's designs were at the Louvre in Paris; and there are some fine pieces of grotesque at Petworth House. The grotesques and other ornaments in these works, a line in which Cleyn appears to have been unrivalled, have always been greatly admired, and some modern authorities have had no hesitation in ascribing them to the hand of Anthony van Dyck or some more famous painter, ignoring the fact that Cleyn was spoken of at the time as a second Titian, and as "il famosissimo pittore, miracolo del secolo".
|
|
In the late 1960s, a group of former students of the School of the Art Institute of Chicago, many of whom had been mentored by teacher-artist Ray Yoshida,Larry Finley, "Influential Figure in Chicago Art World: Teacher, Mentor to Artists in Imagism School of 1970s", Chicago Sun-Times, Monday, January 19, 2009 organized a series of exhibits at the Hyde Park Art Center. Their art was notable for its surrealism and cartoon-influenced grotesques. Strictly speaking, they were three different groups: The earliest was the "Monster Roster", which included Cosmo Campoli, Leon Golub, Nancy Spero, and Karl Wirsum; then the "Hairy Who", which included Art Green, Gladys Nilsson, and Jim Nutt; and finally the Chicago Imagists, which included Roger Brown, Ed Paschke, and Barbara Rossi. According to Imagist Ed Paschke, the Imagists felt liberated by a lack of critical coverage.
|
|
One morning a doctor takes his son—an idealistic student of science and rationality—on his daily rounds through the grim mountainous Austrian countryside. They observe the rural grotesques they encounter—from an innkeeper whose wife has been murdered to a crippled musical prodigy kept in a cage—coping with physical misery, madness, and the brutality of the austere landscape. But when they meet the insomniac Prince Saurau in his castle at Hochgobernitz, his solitary, stationary mind takes over the rest of the novel in an uninterrupted obsessive paragraph. It's a hundred-page monologue by an eccentric, paranoid man, a relentlessly flowing cascade of words that is classic Bernhard: the furious logorrhea is a mesmeric rant, completing the stylistic formation of his art of exaggeration, where he uses metaphors of physical and mental illness to explore the decay of his homeland.
|
|
In the two front side bays, on each level, former sleep-outs have been enclosed with fixed glass panels in aluminium frames. In the central bay, on the upper level, there is a fixed glass window with an aluminium frame; on the lower level a central entrance porch has been constructed over the original stairs. Above the porch is a rendered panel with the name of the building, BULOLO, in low relief "Art Deco" style lettering. The decorative detailing in the front elevation is simple but effective, and includes: the use of polychromatic brickwork in the parapet; the use of multiple brick pilasters at the corners of the building; the creation of textured effects using expressed brickwork; and the incorporation of six small "grotesques", two in each of the front bays, at about the height of the upper floor.
|
|
Della Vecchia was a versatile and prolific painter who worked in many genres and created altarpieces, portraits, genre scenes and grotesques. He relied on the assistance of a large workshop, which explains his large output as well as the fact that many of his works are known in multiple versions. He dated his religious paintings but not his other works, which makes it difficult to understand the evolution of the artist in these other genres. During his career the artist worked in a variety of artistic styles and absorbed many influences including from contemporary artists as well as artists from the previous century.Pietro della Vecchia, Sisyphus at Dorotheum He combined in his work the monumentality of the 16th century Venetian art of artists such as Titian and Tintoretto with the dramatic effects of the style of the Caravaggisti.
|
|
The works are dated between 1488 and 1495 and were followed by Mudéjar masters, maintained the tradition of Mudéjar bricklayers in the Aljafería. The palace is accessed by climbing the noble staircase, a monumental building composed of two large sections with geometric yeserias gables illuminated by half-angled windows of small decoration of leaves and stems of Gothic roots and Mudéjar influences, topped in crochet on the key of the arches. The grandiose ceiling, as in the rest of the palace buildings, is covered with superb cross-vaulted vaults arranged between the jácenas, and they are decorated with tempera painting with iconographic motifs related to the Catholic Monarchs: the yoke and the arrows alternate with squares of decoration in grisao of grotesques and candelieri, that announces the typical decoration of the Renaissance. The stairs give access to a corridor in the first floor that communicates with the palatial dependencies proper.
|
|
In keeping with the logic of mediaeval honour, the walls are capped with decorative machicolationExplanatory comments of Toulouse Renaissance exhibition (2018), Colin Debuiche.. Bachelier focused his efforts on the windows, also he lent more attention to the monumental door, a veritable bravura passage replacing the staircase tower in its symbolic significance. These windows display the same classical style that Bachelier developed for Hôtel de Bagis in 1538, but the upper and lower section of the frames gained in sophistication through the use of tables decorated with masks and grotesques. The motifs resemble the ornaments of Francis I Gallery in Fontainebleau Palace, that were being highly appreciated in the kingdom at that time. Designs also circulated within the bounds of the city, as demonstrated by the desire of 'classical windows' and the fact that the masks on this house were repeated on the consoles of the Hôtel d'Assézat passageway.
|
|
Three slate roofs are built parallel to this façadeTranslated from: Serge Rousseau-Vellones, , Les Nouvelles Éditions latines, "La Ferté-Imbault" page 19 Several large windows of the eastern facade retain a Renaissance decor made of grotesques and historical medallions. This facade also has a polychrome grid and testifies that the stone was hardly used to play a decorative role. In the main building, were added two wings disappeared for one at the end of the eighteenth century and for the other at the beginning of the nineteenth century, following a fire (which also destroyed the main wood staircase located in the bell tower, rebuilt in 1830). Two pavilions are built at the end of the moat: the first for the guardhouse and the second for kitchens with a well that still exists, and whose ground floor is vaulted by a series of powerful arches diaphragms in brick.
|
|
Decorative details such as the planter boxes at the front, either side of the entrance stairs; the stylistic concerns with utilising brickwork for decorative purposes (including salt-glazed highlights and patterns in a darker colour brick and the incorporation of dramatic pilasters to the exterior); and the incorporation of small "grotesques" in the front elevation; remain intact. The place is an excellent example of the domestic work of the architectural firm of Hennessy, Hennessy and Co. in Queensland. The firm received a large number of commissions from the Catholic church in Queensland, and they are better known for their design work in convents, church schools, churches and presbyteries throughout the south-east of the State. In Bulolo, their concern with Romanesque stylistic influences so often found in their institutional work and of which they were leading practitioners, is apparent in their domestic design work as well.
|
|
The phrase parade of horribles originally referred to a literal parade of people wearing comic and grotesque costumes, rather like the Philadelphia Mummers Parade. It was a traditional feature of Fourth of July parades in parts of the United States in the 19th century, and "Horribles Parades" continue to be part of the Independence Day celebration in several New England communities. A 1926 newspaper article about July the Fourth celebrations in the White Mountains of New Hampshire notes: > Old-time celebrations are to be held tomorrow at Littleton, Lancaster, > Colebrook, and Conway, with all the usual features of street parades of > horribles and grotesques, brass bands, decorated automobiles and vehicles, > exhibitions by fire departments, basket picnics in convenient groves... Founded in 1926, the Ancient and Horribles Parade in Chepachet, Rhode Island continues this tradition. Other rural New England towns, such as Hopkinton, Massachusetts, and Mendon, Massachusetts, still hold annual Horribles Parades.
|
|
Thomazi, Conquête, 275–6 Only one important French sweep was made during the summer of 1885 in Tonkin, and its effects were transitory. In July 1885 a mixed column of Algerian and Tonkinese riflemen under the command of Colonel Mourlan drove a band of insurgents from the Tam Dao massif and established a French post at Lien Son. The insurgents fled without accepting battle and regrouped in Thái Nguyên province.Thomazi, Histoire militaire, 121–2 The blundering response of de Courcy and his staff officers to the twin challenges in Annam and Tonkin has been memorably characterised in a recent French study of the period: > Comme dans un drame shakespearien, des grotesques s’agitent sur le devant de > la scène pendant que la tragédie se poursuit dans le sang, sur toute > l'étendue du Tonkin ravagé et de l'Annam qui bascule dans la guerre au cours > de l'été.
|
|
The cannon is decorated with engravings of fruit, flowers, grotesques, and figures symbolizing Liberty, Victory and Fame. There is also a Tudor coat of arms which includes a verse in Dutch, which translates in English as Break, tear every wall and rampart, Am I called, Across mountain and valley, pierces my ball, By me stricken. Between 1613 and 1622 the gun was used and was found to be capable of firing a 10 lb (4.5 kg) ball a distance of 2000 yards (1.8 km)."Treasures of Britain" by Drive Publications Limited, for the Automobile Association. P.167 Before the English Civil War it guarded the cliffs of Dover"The History of the Castle, Town and Port of Dover" by Reverend S. P. H. Statham, Rector of St Mary-in- the-Castle (ie St Mary-in-Castro) (Longmans, Green, and Co., 1899 and propaganda of the time claimed it could fire a 12 lb ball seven miles.
|
|
A view of Villa Palagonia Villa Palagonia monsters statues The Villa Palagonia is a patrician villa in Bagheria, 15 km from Palermo, in Sicily, southern Italy. The villa itself, built from 1715 by the architect Tommaso Napoli with the help of Agatino Daidone, is one of the earliest examples of Sicilian Baroque. However, its popularity comes mainly from the statues of monsters with human faces that decorate its garden and its wall, and earned it the nickname of "The Villa of Monsters" (Villa dei Mostri). This series of grotesques, created from 1749 by Francesco Ferdinando II Gravina, Prince of Palagonia, aroused the curiosity of the travellers of the Grand Tour during the 18th and 19th centuries, for instance Henry Swinburne, Patrick Brydone, John Soane, Goethe, the Count de Borde, the artist Jean-Pierre Houël or Alexandre Dumas, prior to fascinate surrealists like André Breton or contemporary authors such as Giovanni Macchia and Dominique Fernandez, or the painter Renato Guttuso.
|
|
The walls of the upper loggia are entirely decorated with frescoes commissioned by Cardinal Teseo Aldrovandi to the painter Ercole Pelillo from Salerno; they show landscapes, panoplies and grotesques. The loggia gives access, through a double doorway, to the Apartment of the Commendatore, consisting of many rooms decorated with magnificent tapestries, ancient furniture and sculptures, among which a Virgin with the Child by Andrea del Verrocchio. The most eminent room is the Gala Hall, called Salone del Commendatore; this room was interely frescoed by the brothers Jacopo and Francesco Zucchi, who portrayed the history of the Hospital, from the dream of Pope Innocent III, to Pope Sixtus IV visiting the building sites, up to the whole, diversified endeavour carried out by the Institution (see the paragraph Corsia Sistina). Each scene simulates a tapestry bordered by draperies, on which the coats of arms of Santo Spirito, with its typical "Cross of Lorraine", and of the Aldrovandi family are alternately represented.
|
|
The inventory of the > furnishings of the crown mentions in the year 1695: "[n °] 1615 - An > upholstery [sic] of red and yellow satin velvet, embroidered and silver > lined, listed before No. 783, Which has been upgraded and furnished to serve > Monseigneur le Dauphin at Meudon, now consisting of a full bed, four > armchairs, eight folding seats, two panes, two doors, six sheets of screens, > a business chair and two tapestries". In addition, Monseigneur retrieved for his room the small ebony desk encrusted with copper and tortoiseshell which he had bought at Godron, which had a plateau supported by eight bronze caryatids, with, in the middle of the marquetry, one cupid on an escarpolette. In addition to this desk, the room included a table and two pedestals, the tablets of which were decorated with Chinese grotesques with figures and birds. Essai de restitution de la chambre of Monseigneur, in the "Grand Appartement" on the ground floor of the east wing of the château-vieux in Meudon.
|
|
City Hall of Seville in the Plaza de San Francisco work by Diego de Riaño A movement began in late 15th century Spain to disguise Gothic buildings with florid decoration, especially grotesques, but the superficial application of this principle did not change the spatial qualities or architectural structure of those buildings. This process began when the Renaissance arrived in Spain and architects began copying Renaissance architectural features without understanding the new ideas behind them, that is, without letting go of medieval forms and ideas. Many of the Plateresque buildings were already built, to which were added only layers of Renaissance ornamentation, especially around openings (windows and doors), and in general, all non-architectural elements, with some exceptions. Although the appellation 'Plateresque' is usually applied to the act of superimposing new Renaissance elements on forms governed by medieval guidelines in architecture, this trend is also seen in the Spanish painting and sculpture of the time.
|
|
The subjects range from Olympian banquets in the Sala di Psiche and stylised horses in the Sala dei Cavalli to the most unusual of all — giants and grotesques wreaking havoc, fury and ruin around the walls of the Sala dei Giganti. These magnificent rooms, once furnished to complement the ducal court of the Gonzaga family, saw many of the most illustrious figures of their era entertained such as the Emperor Charles V, who, when visiting in 1530, elevated his host Federico II of Gonzaga from Marquess to Duke of Mantua. One of the most evocative parts of the lost era of the palazzo is the Casino della Grotta, a small suite of intimate rooms arranged around a grotto and loggetta (covered balcony) where courtiers once bathed in the small cascade that splashed over the pebbles and shells encrusted in the floor and walls. Part of the Palazzo today houses the Museo Civico del Palazzo Te, endowed by the publisher Arnoldo Mondadori.
|
|
His work over the years has been extremely varied in materials (wood, gauze, found objects, polyethylene etc.) and in tone, from the austere rigour of his flexible wooden ladders of the 1970s, to the ethereal lightness of his gauze pieces going on to the playfulness of his colourful Peintures qui perlent (Beading Paintings) which are painted wooden cubes and beads attached to a rigid framework. There are two main directions in his work: the first, his deconstruction of painting and its components (Ladders, Trellises, Cut Out Gauzes, Pavilions etc.) and the second, his creation of series of objects (Arms, Gathering Devices, and Receptacles) which evoke humanity's perennial activities. Dezeuze's drawings also can be grouped in these same two directions with the addition of his sensitive and delightful evocations of nature in his series La Vie Amoureuse des Plantes (subject of an exhibition at the Centre Pompidou in 1993), his numerous and colourful Butterflies and enigmatic Grotesques. His exhibitions have been numerous in France and abroad.
|
|
The introduction of the Renaissance in Spain coincided with a period of great political, economic and social splendor, after the union between Castile and Aragon, the end of the Reconquista, the discovery of America and the coming to power of the Habsburgs. Although in its beginning the new style from Italy lived with the persistence of Gothic and Mudéjar forms, gradually took hold and served as the expression of the new political power, linked to the new conception of the Catholic Counter-Reformation. In the first third of the 16th century came the Plateresque, fine and elegant style of decoration, characterized by the use of rustication on the exterior walls, balustered columns with Corinthian capitals, arches or basket-handle, and pilasters decorated with grotesques. In front of the excessive decorate of Plateresque style, the Purism sought ways simpler and refined, in a sober and classic line, balance and technical perfection, taking more on structural issues and harmonious proportions.
|
|
Colander through Prayer (с. 1502), Chiostro Grande, Abbazia territoriale di Monte Oliveto Maggiore Along with Pinturicchio, Sodoma was one of the first to practice in Siena the style of the High Renaissance. His first important works were frescoes in the Benedictine monastery of Monte Oliveto Maggiore, on the road from Siena to Rome, illustrating the life of St Benedict in continuation of the series that Luca Signorelli had begun in 1498. Gaining fluency in the prevailing popular style of Pinturicchio, Sodoma completed the set in 1502 and included a self- portrait with badgers and ravens. Sodoma was invited to Rome in 1508 by the celebrated Sienese merchant Agostino Chigi and was employed there by Pope Julius II in the Stanza della Segnatura in the Vatican. He executed two great compositions and various ornaments and grotesques in vaulted ceilings divided in feigned compartments in the antique manner that Pinturicchio had recently revived, working at the same time as Raphael.
|
|
The publishing house Aux Quatre Vents played an important role in the spread of the Italian High Renaissance throughout northern Europe as Cock published prints made by prominent engravers such as Giorgio Ghisi, Dirck Volckertsz Coornhert and Cornelis Cort after the work of leading Italian painters like Raphael, Primaticcio, Bronzino, Giulio Romano and Andrea del Sarto. The Italian historian of architecture Vincenzo Scamozzi copied many of the engravings published by Cock in 1551 for his volume on Rome entitled 'Discorsi sopra L'antichita di Roma' (Venice: Ziletti, 1583).Praecipua aliquot Romanae Antiquitatis Ruinarum Monimenta at the British Museum Cock collaborated with the Spanish cartographer Diego Gutiérrez on a 1562 Map of America.Diego Gutiérrez at the Library of Congress' website Hieronymus Cock collaborated with Antwerp architect and designer Cornelis Floris de Vriendt in the publishing of Cornelis Floris' designs for monuments and ornaments: the ‘’Veelderley niewe inuentien van antycksche sepultueren’’ (‘The many new designs of antique sculptures') was published in 1557 and the ‘’Veelderley veranderinghe van grotissen’’ (‘Many varieties of grotesques’) in 1556.
|
|
A recent X-ray study revealed that it was painted on an already used canvas painted with grotesques in the style of Caravaggio's friend Prospero Orsi, who helped the artist in his first breakthrough into the circles of collectors such as his first patron, Cardinal Francesco Maria Del Monte, around 1594/1595, and who remained close to him for many years thereafter. Scholars have had more than their usual level of disagreement in assigning a date to the painting: John T. Spike places it in 1596; Catherine Puglisi believes that 1601 is more probable; and practically every year in between has been advanced. Puglisi's reasoning seem solid, (the basket in this painting seems identical with the one in the first of Caravaggio's two versions of Supper at Emmaus - even the quince seems to be the same piece of fruit), but no consensus has emerged. In 1607 it was part of Cardinal Federico Borromeo’s collection, a provenance which raises the plausibility of a conscious reference to the Book of Amos.
|
|
Originally intended as a place from which the king could watch and assist in theatrical productions in the courtyard, the Salón de Reinos was turned into a throne room when it was decided to turn Buen Retiro into a full palace. It was still used for spectacles and soirees, so a balcony was added so that festivities could be viewed from above, but as a throne room it had to impress ambassadors and other distinguished members of the courts of Europe who visited the palace. This meant the room's decoration was the most sumptuous in the whole palace, well-illuminated by several windows between jasper tables and silver lions and with a ceiling covered in grotesques. There were also wall paintings full of political symbolism with the ultimate aim of glorifying Philip IV. The designer of the room's decorative programme is unknown, though ultimate responsibility lay in the hands of the conde duque de Olivares himself, along with Jerónimo de Villanueva (who gave the lions and effected the payments) and with the intellectual advice of Francisco de Rioja and of the painters closest to Philip and Olivares, Juan Bautista Maíno and Velázquez.
|
|
In the early 21st century the Spanish Ministry of Culture launched a series of studies and reforms to move the Army museum to a larger, better and more modern setting at the Alcázar of Toledo, giving the Hall of Realms over to the Prado, which already had responsibility for the Casón and which could then return the Salón de Reinos to its 17th-century appearance and reinstate the paintings originally meant for it. This would be all the easier since the wall paintings, ceiling paintings and grotesques were still well preserved, but the initial proposal caused a debate on the building's final use, with some opposing it since it would separate works by Velázquez such as The Surrender of Breda from his other works in the Prado, and others since they felt that such a move was unjustified just to recreate a single room. The Museo del Ejército reopened in Toledo in July 2010. The works on the Salón de Reinos to convert it for the use of the Prado were originally expected to occur from 2010 to 2012, with a budget of 42.5 million Euros.
|
|
The Mannerist stucco sculptural decor of the palazzo's front and its courtyard façades feature sculptures crowded into niches and fruit and flower swags, grotesques and vignettes of symbolic devices (impresi) in bas-relief among the small framed windows of a mezzanine, the richest cinquecento façades in Rome. Facade details. The colossal sculpture of Pompey the Great, erroneously believed to be the very one at whose feet Julius Caesar fell, was discovered under the party wall of two Roman houses in 1552: it was to be decapitated to satisfy the claims of both parties, which appalled Cardinal Capodiferro so, that he interceded on the sculpture's behalf with Pope Julius III, who purchased it and then gave it to the Cardinal. The palazzo hosts the Galleria Spada, the Cardinal Spada's collection, which includes four galleries of 16th and 17th-century paintings by Andrea del Sarto, Guido Reni, Titian, Jan Brueghel the Elder, Guercino, Rubens, Dürer, Caravaggio, Domenichino, the Carracci, Salvator Rosa, Parmigianino, Francesco Solimena, Michelangelo Cerquozzi, Pietro Testa, Giambattista Gaulli, and Orazio and Artemisia Gentileschi, and has the additional interest of being hung in the 17th-century manner, frame-to-frame, with smaller pictures "skied" above larger ones.
|
|
Still, by 16 April of the following year, the first of the many coloured varieties of stone were laidNepean sandstone, red sandstone from Potsdam, New York, and a grey Ohio freestone. On 1 September 1860, Prince Albert Edward, Prince of Wales (later King Edward VII) arrived in Ottawa as part of his wider royal tour of the province, and laid the cornerstone of the growing Centre Block, with a luncheon on the grounds for the workers and their families. The Ottawa Citizen said on 6 June of the upcoming event: By 1866, the United Province of Canada's parliament (Legislative Assembly of the Province of Canada and Legislative Council of the Province of Canada) sat in its first and only session in the new building, by then dominated by the central Victoria Tower on the formal front, and with an articulated rear façade shaped along the curves of the adjacent cliff. The stonework contained carved mouldings, sculpted foliage, real and mythical animals, grotesques, and emblems of France, England, Ireland, and Scotland, spread across and over pointed windows in various groupings, turrets, towers, and finials, while the roof was of grey and green slate, topped with iron cresting painted china blue with gilt tips.
|
|
Other radio work around this time included several appearances on Workers' Playtime on the BBC, a morale-boosting show that had started during the war to entertain factory workers in their canteens. Emery also made a guest appearance on the popular BBC radio programme The Goon Show, replacing regular cast member Harry Secombe when he was absent for one episode in 1957. During 1953 he briefly formed a double act with Charlie Drake. His television debut came in 1950 on The Centre Show on the BBC. Throughout the 1950s he appeared on programmes including Round the Bend (BBC, 1955–56) and Educating Archie (ITV, 1958–59) and appeared with his friend Tony Hancock in several episodes of The Tony Hancock Show (ITV, 1956) and Hancock's Half Hour (BBC, 1957). He enhanced his reputation on two series with former Goon Michael Bentine: After Hours (ITV, 1958–59) and It's a Square World (BBC, 1960–64). His role as Private Chubby Catchpole in the final series of The Army Game (ITV 1960) led to an exclusive BBC contract, and the long-running The Dick Emery Show (BBC, 1963–81) began. The show involved Emery dressing up as various characters, "a flamboyant cast of comic grotesques".
|
|
The East Block as viewed from the observation platform of the Peace TowerDesigned by Thomas Stent and Augustus Laver, the East Block is an asymmetrical structure built in the Victorian High Gothic style, with load bearing masonry walls being nearly 0.9 m (3 ft) thick at the ground level, expanding to 2.1 m (7 ft) thick at the base of the main tower. These are all clad in a rustic Nepean sandstone exterior and dressed stone trim around windows and other edges, as well as displaying a multitude of stone carvings, including gargoyles, grotesques, and friezes, keeping with the style of the rest of the parliamentary complex. The rear of the East BlockThis detail continues on the interior of the East Block, where emblems, such as wheat sheaves, were carved in stone originally to indicate the various government departments housed nearby. The level of quality and luxury of the offices initially indicated the status of the inhabitant: large, wood panelled chambers with marble fireplaces and richly decorated plaster ceilings served for ministers of the Crown; intricate, but somewhat less detailed cornices were sufficient for senior bureaucrats; and basic, machine-made woodwork and concrete fireplace mantles filled rooms set aside for clerks.
|
|