grotesque

　 　 　

WordNet

1. distorted and unnatural in shape or size; abnormal and hideous; "tales of grotesque serpents eight fathoms long that churned the seas"; "twisted into monstrous shapes" (同)monstrous
2. art characterized by an incongruous mixture of parts of humans and animals interwoven with plants
3. in a grotesque manner; "behind the house lay two nude figures grotesquely bald, with deliberate knife-slashes marking their bodies" (同)monstrously
4. ludicrous or incongruous unnaturalness or distortion (同)grotesquery, grotesquerie

PrepTutorEJDIC

1. (形・外見が)奇怪な,異様な / おかしくなるほどばかげた / (芸術作品が)怪奇(グロテスク)様式の / 《the~》グロテスク模様;グロテスクふう / 奇異なもの

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出典(authority):フリー百科事典『ウィキペディア（Wikipedia）』「2016/12/21 02:48:21」(JST)

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For other uses, see Grotesque (disambiguation).

Mother Nature is surrounded by grottesche in this fresco detail from Villa d'Este.

Renaissance grotesque motifs in assorted formats.

Decorative panel showing the two separable elements of Grotesque: the elaborate acanthus leaf and candelabra type design and the hideous mask or face

Since at least the 18th century (in French and German as well as English), grotesque (or grottoesque) has come to be used as a general adjective for the strange, fantastic, ugly, incongruous, unpleasant, or disgusting, and thus is often used to describe weird shapes and distorted forms such as Halloween masks. In art, performance, and literature, however, grotesque may also refer to something that simultaneously invokes in an audience a feeling of uncomfortable bizarreness as well as sympathetic pity. 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.

The word was originally a noun (1560s), from Italian grottesco (through Middle French), literally "of a cave", from Italian grotta (see grotto), is an extravagant style of Ancient Roman decorative art rediscovered and then copied in Rome at the end of the 15th century. The word first was used of paintings found on the walls of basements of Roman ruins that were called at that time Le Grotte (The Grottoes) due to their appearance. These "caves" were in fact rooms and corridors of the Domus Aurea, the unfinished palace complex started by Nero after the Great Fire of Rome in CE 64, which had become overgrown and buried, until they were broken into again, mostly from above. Spreading from Italian to the other European languages, the term was long used largely interchangeably with arabesque and moresque for types of decorative patterns using curving foliage elements.

Rémi Astruc has argued that although there is an immense variety of motifs and figures, the three main tropes of the grotesque are doubleness, hybridity and metamorphosis. Beyond the current understanding of the grotesque as an aesthetic category, he demonstrated how the grotesque functions as a fundamental existential experience. Moreover, Astruc identifies the grotesque as a crucial, and potentially universal, anthropological device that societies have used to conceptualize alterity and change.

History

Roman frescos in Nero's Domus Aurea

Early examples in Roman ornaments

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, as fresco wall decoration, floor mosaics, etc., and were decried by Vitruvius (c. 30 BC), who in dismissing them as meaningless and illogical, offered the description: "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."

When Nero's palace in Rome, the Domus Aurea, was inadvertently rediscovered in the late 15th century, buried in fifteen hundred years of fill, the first breakthrough was from above, so that those keen to see the rooms had to be lowered down into them on ropes, completing their resemblance to caves, or grottoes in Italian. The Roman wall decorations in fresco and delicate stucco were a revelation.

Etymology in Renaissance

Ceiling of the Piccolomini Library

The first appearance of the word grottesche appears in a contract of 1502 for the Piccolomini Library attached to the duomo of Siena. They were introduced by Raphael Sanzio and his team of decorative painters, who developed grottesche into a complete system of ornament in the Loggias that are part of the series of Raphael's Rooms in the Vatican Palace, Rome. "The decorations astonished and charmed a generation of artists that was familiar with the grammar of the classical orders but had not guessed till then that in their private houses the Romans had often disregarded those rules and had adopted instead a more fanciful and informal style that was all lightness, elegance and grace." 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. Francisco de Holanda puts a defense in the mouth of Michelangelo in his third dialogue of Da Pintura Antiga, 1548:

"this insatiable desire of man sometimes prefers to an ordinary building, with its pillars and doors, one falsely constructed in grotesque style, with pillars formed of children growing out of stalks of flowers, with architraves and cornices of branches of myrtle and doorways of reeds and other things, all seeming impossible and contrary to reason, yet it may be really great work if it is performed by a skillful artist."

Mannerism

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, Andrea Alciato's Emblemata (1522) offered ready-made iconographic shorthand for vignettes. More familiar material for grotesques could be drawn from Ovid's Metamorphoses.

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. Because of the relative unimportance of the space, and a desire to copy the Domus Aurea style, no large paintings were used, and the surfaces were mostly covered with grotesque designs on a white background, with paintings imitating sculptures in niches, and small figurative subjects in a revival of Ancient Roman style. This large array provided a repertoire of elements that were the basis for later artists across Europe.

In Michelangelo's Medici Chapel Giovanni da Udine composed during 1532-33 "most beautiful sprays of foliage, rosettes and other ornaments in stucco and gold" in the coffers and "sprays of foliage, birds, masks and figures", with a result that did not please Pope Clement VII Medici, however, nor Giorgio Vasari, who whitewashed the grottesche decor in 1556. Counter Reformation writers on the arts, notably Cardinal Gabriele Paleotti, bishop of Bologna, turned upon grottesche with a righteous vengeance.

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".

Vasari recorded that Francesco Ubertini, called "Bacchiacca", delighted in inventing grotteschi, and (about 1545) painted for Duke Cosimo de' Medici a studiolo in a mezzanine at the Palazzo Vecchio "full of animals and rare plants". Other 16th-century writers on grottesche included Daniele Barbaro, Pirro Ligorio and Gian Paolo Lomazzo.

Engravings, woodwork, book illustration, decorations

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. At Fontainebleau Rosso Fiorentino and his team enriched the vocabulary of grotesques by combining them with the decorative form of strapwork, the portrayal of leather straps in plaster or wood moldings, which forms an element in grotesques.

French neoclassical painted decor in the Raphaelesque grotesque manner at Fontainebleau, 1780s

From Baroque to Victorian era

Grotesque made of gold thread on saddle pad, dated from 1600-1650.

In the 17th and 18th centuries the grotesque encompasses a wide field of teratology (science of monsters) and artistic experimentation. The monstrous, for instance, often occurs as the notion of play. The sportiveness of the grotesque category can be seen in the notion of the preternatural category of the lusus naturae, in natural history writings and in cabinets of curiosities. The last vestiges of romance, such as the marvellous also provide opportunities for the presentation of the grotesque in, for instance, operatic spectacle. The mixed form of the novel was commonly described as grotesque - see for instance Fielding's "comic epic poem in prose". (Joseph Andrews and Tom Jones)

Grotesque ornament received a further impetus from new discoveries of original Roman frescoes and stucchi at Pompeii and the other buried sites round Mount Vesuvius from the middle of the century. It continued in use, becoming increasingly heavy, in the Empire Style and then in the Victorian period, when designs often became as densely packed as in 16th-century engravings, and the elegance and fancy of the style tended to be lost.

Extensions of the term in art

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". 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".

A boom in the production of works of art in the grotesque genre, characterized the period 1920–1933 of German art. In contemporary illustration art, the "grotesque" figures, in the ordinary conversational sense, commonly appear in the genre grotesque art, also known as fantastic art.

In literature

One of the first uses of the term grotesque to denote a literary genre is in Montaigne's Essays. The Grotesque is often linked with satire and tragicomedy. It is an effective artistic means to convey grief and pain to the audience, and for this has been labeled by Thomas Mann as the "genuine antibourgeois style".

Some of the earliest written texts describe grotesque happenings and monstrous creatures. The literature of Myth has been a rich source of monsters; from the one-eyed Cyclops (to cite one example) from Hesiod's Theogony to Homer's Polyphemus in the Odyssey. Ovid's Metamorphoses is another rich source for grotesque transformations and hybrid creatures of myth. Horace's Art of Poetry also provides a formal introduction classical values and to the dangers of grotesque or mixed form. Indeed, the departure from classical models of order, reason, harmony, balance and form opens up the risk of entry into grotesque worlds. Accordingly, British literature abounds with native grotesquerie, from the strange worlds of Spenser's allegory in The Faerie Queene, to the tragi-comic modes of 16th-century drama. (Grotesque comic elements can be found in major works such as King Lear.)

Literary works of mixed genre are occasionally termed grotesque, as are "low" or non-literary genres such as pantomime and farce. Gothic writings often have grotesque components in terms of character, style and location. In other cases, the environment described may be grotesque - whether urban (Charles Dickens), or the literature of the American south which has sometimes been termed "Southern Gothic". Sometimes the grotesque in literature has been explored in terms of social and cultural formations such as the carnival(-esque) in François Rabelais and Mikhail Bakhtin. Terry Castle has written on the relationship between metamorphosis, literary writings and masquerade.

Another major source of the grotesque is in satirical writings of the 18th century. Jonathan Swift's Gulliver's Travels provides a variety of approaches to grotesque representation. In poetry, the works of Alexander Pope provide many examples of the grotesque.

In fiction, characters are usually considered grotesque if they induce both empathy and disgust. (A character who inspires disgust alone is simply a villain or a monster.) Obvious examples would include the physically deformed and the mentally deficient, but people with cringe-worthy social traits are also included. 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. Dr. Frankenstein's monster can also be considered a grotesque, as well as the title character, Erik in The Phantom of the Opera and the Beast in Beauty and the Beast. Other instances of the romantic grotesque are also to be found in Edgar Allan Poe, E.T.A. Hoffmann, in Sturm und Drang literature or in Sterne's Tristram Shandy. The romantic grotesque is far more terrible and sombre than the medieval grotesque, which celebrated laughter and fertility. It is at this point that a grotesque creature such as Frankenstein's monster (in Mary Shelley's novel published in 1818) begins to be presented more sympathetically as the outsider who is the victim of society. But the novel also makes the issue of sympathy problematic in an unkind society. This means that society becomes the generator of the grotesque, by a process of alienation. In fact, the grotesque monster in Frankenstein tends to be described as 'the creature.'

The grotesque received a new shape with Alice's Adventures in Wonderland by Lewis Carroll, when a girl meets fantastic grotesque figures in her fantasy world. Carroll manages to make the figures seem less frightful and fit for children's literature, but still utterly strange. Another comic grotesque writer who played on the relationship between sense and nonsense was Edward Lear. Humorous, or festive nonsense of this kind has its roots in the seventeenth century traditions of fustian, bombastic and satirical writing.

During the nineteenth-century category of grotesque body was increasingly displaced by the notion of congenital deformity or medical anomaly. Building on this context, the grotesque begins to be understood more in terms as deformity and disability, especially after the First World War, 1914-18. In these terms, the art historian Leah Dickerman has argued that 'The sight of horrendously shattered bodies of veterans returned to the home front became commonplace. The accompanying growth in the prosthetic industry struck contemporaries as creating a race of half-mechanical men and became an important theme in dadaist work.' The poetry of Wilfred Owen displays a poetic and realistic sense of the grotesque horror of war and the human cost of brutal conflict. Poems such as 'Spring Offensive' and 'Greater Love' combined images of beauty with shocking brutality and violence in order to produce a sense of the grotesque clash of opposites. In a similar fashion, Ernst Friedrich (1894–1967), founder of the Berlin Peace Museum, an anarchist and a pacifist, was the author of War Against War (1924) which used grotesque photographs of mutilated victims of the First World War in order to campaign for peace.

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. Another oft-cited example of the grotesque from O'Connor's work is her short-story entitled "A Temple Of The Holy Ghost". The American novelist, Raymond Kennedy is another author associated with the literary tradition of the grotesque.

Contemporary writers

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.

Pop culture

Other contemporary writers who have explored the grotesque in pop-culture are John Docker, in the context of postmodernism; Cintra Wilson, who analyzes celebrity; and Francis Sanzaro, who discusses its relation to childbirth and obscenity.

Theatre of the Grotesque

The term Theatre of the Grotesque refers to an anti-naturalistic school of Italian dramatists, writing in the 1910s and 1920s, who are often seen as precursors of the Theatre of the Absurd. Characterized by ironic and macabre themes of daily life in the world war 1 era. Theatre of the grotesque was named after the play 'The Mask and the Face' by Luigi Chiarelli, which was described as ' a grotesque in three acts'.

Friedrich Dürrenmatt is a major author of contemporary grotesque comedy plays.

In architecture

Main article: chimera (architecture)

Detail from the 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. This type of sculpture is also called a chimera. 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".

In typography

Main article: Grotesque (typeface classification)

The word "Grotesque", or "Grotesk" in German, is also frequently used as a synonym for sans-serif in typography. At other times, it is used (along with "Neo-Grotesque", "Humanist", "Lineal", and "Geometric") to describe a particular style or subset of sans-serif typefaces. The origin of this association can be traced back to English typefounder William Thorowgood, who first introduced the term "grotesque" and in 1835 produced 7-line pica grotesque—the first sans-serif typeface containing actual lowercase letters. An alternate etymology is possibly based on the original reaction of other typographers to such a strikingly featureless typeface.

Popular Grotesque typefaces include Franklin Gothic, News Gothic, Haettenschweiler and Lucida Sans (although the latter lacks the spurred "G"), whereas popular Neo-Grotesque typefaces include Arial, Helvetica and Verdana.

See also

• Ero guro
• Hunky punk
• Mask
• Mummers' play
• Rigoletto, an opera in three acts by Giuseppe Verdi.
• Sheela na Gig
• Southern Gothic

Notes

References

• Astruc, Rémi (2010) Le Renouveau du grotesque dans le roman du XXe siècle, essai d'anthropologie littéraire, Paris, Classiques Garnier
• Clark, John R. (1991) The modern satiric grotesque and its traditions

Further reading

• Sheinberg, Esti (2000-12-29). Irony, satire, parody and the grotesque in the music of Shostakovich. UK: Ashgate. p. 378. ISBN 0-7546-0226-5. 
• Kayser, Wolfgang (1957) The grotesque in Art and Literature, New York, Columbia University Press
• Lee Byron Jennings (1963) The ludicrous demon: aspects of the grotesque in German post-Romantic prose, Berkeley, University of California Press
• Bakhtin, Mikhail (1941). Rabelais and His World. Bloomington: Indiana University Press. 
• Harpham, Geoffrey Galt (1982, 2006), On the Grotesque: Strategies of Contradiction in Art and Literature (Princeton: Princeton University Press)
• Selected bibliography by Philip Thomson, The Grotesque, Methuen Critical Idiom Series, 1972.
• Dacos, N. La découverte de la Domus Aurea et la formation des grotesques à la Renaissance (London) 1969.
• Kort, Pamela (2004-10-30). Comic Grotesque: Wit And Mockery In German Art, 1870-1940. PRESTEL. p. 208. ISBN 978-3-7913-3195-9. 
• FS Connelly (2003). "Modern art and the grotesque" (PDF). Assets.cambridge.org. 
• Zamperini, Alessandra (2008). Ornament and the Grotesque: Fantastical Decoration from Antiquity to Art Nouveau. Thames and Hudson. pp. 320, 11" x 13", 250 color illustrations. ISBN 978-0-500-23856-1. 

External links

• Video tour of the most vivid examples of medieval Parisian stone carving - the grotesques of Notre Dame
• The Grotesque: Bloom's Literary Themes edited by Harold Bloom and Blake Hobby
•  "Grotesque". Encyclopædia Britannica (11th ed.). 1911. 

English Journal

• Medical weblogs: advocacy for positive cyber role models.

• Gosselink MJ.SourcePsychiatrist, Department of Psychiatry, Leiden University Medical Centre, Leiden, the Netherlands. m.j.gosselink@lumc.nl
• The clinical teacher.Clin Teach.2011 Dec;8(4):245-8. doi: 10.1111/j.1743-498X.2011.00483.x.
• BACKGROUND: The development of empathy and of medical professionalism is important in medical education. Research has shown a decline in empathy during medical study. An important factor that may contribute to this decline is the lack of positive role models. Students identify positive and negative
• PMID 22085000

• The grotesque female in Malaysian poems: shaping the migrant's psyche.

• DMani S.SourceDepartment of Language, Communication and Culture, International Medical University, No. 126, Jalan 19/155B, Bukit Jalil, 57000 Kuala Lumpur, Malaysia. sheba_dmani@imu.edu.my
• The Journal of medical humanities.J Med Humanit.2011 Dec;32(4):305-13.
• The works of Malaysian poet, Wong Phui Nam's Against the Wilderness (vii) China bride and Variations on a Birthday Theme (iv) Kali, illustrate a bride and a mother in terrifying images. Wong's stylistic form of representing the female body through startling images of inversion and degradation evoke
• PMID 21826502

• Instrumented stabilization in spinal tuberculosis.

• Jain AK, Jain S.SourceUCMS and GTB Hospital, Orthopaedics, New Delhi, India, dranilkjain@gmail.com.
• International orthopaedics.Int Orthop.2011 Jul 1. [Epub ahead of print]
• Spinal tuberculosis (TB) produces neurological complications and grotesque spinal deformity, which in children increases even with treatment and after achieving healing. Long-standing, severe deformity leads to painful costo-pelvic impingement, respiratory distress, risk of developing late-onset par
• PMID 21720864

Japanese Journal

• ポーのグロテスク : 「エピマネス／四獣一体」と旧約「エゼキエル書」の関係

• 並木 信明
• 専修人文論集 92, 55-83, 2013-03-15
• NAID 120005269422

• The Theory and History of the Grotesque in the European Literature:The Dynamic of the Notion

• Nikolenko Olga
• 上智ヨーロッパ研究 (5), 163-178, 2013-02-28
• NAID 120005268695

• The Events of Russian History from 1917 to 1922 in Realistically Grotesque Portrayal by Viktor Shklovsky

• Shatova Irina
• 上智ヨーロッパ研究 (5), 137-162, 2013-02-28
• NAID 120005268694

• The Theory and History of Grotesque in the European Literature: The Dynamic of the Notion

• Olga Nikolenko
• 上智ヨーロッパ研究 (5), 16, 2013-02-28
• NAID 110009552521

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