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2024-12-08 01:01:10

Anarko on Nostr: 🌊 SURF 'N TURF 🏝️ -THE ISLAND LIFE- ...


🌊 SURF 'N TURF 🏝️
-THE ISLAND LIFE-

Since at least the 18th century (in French and German, as well as English), grotesque has come to be used as a general adjective for the strange, mysterious, magnificent, fantastic, hideous 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 an audience feeling of uncomfortable bizarreness as well as sympathetic pity. The English word first appears in the 1560s as a noun borrowed from French, itself 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 fifteent century and subsequently imitated.

The word was first used of paintings found on the walls of basements of ruins in Rome that were called at that time le Grotte ('the caves'). 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 AD 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 an 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.

In Michelangelo's Medici Chapel Giovanni da Udine composed during 1532-1533 "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 VIl Medici, however, nor Giorgio Vasari, who whitewashed the grotesque decor in 1556.

Counter Reformation writers on the arts, notably Cardinal Gabriele Paleotti, bishop of Bologna turned upon the grottesque with a rigtheous vegeance.

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