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Der Mensch-Tier-Vergleich und die Mensch-Tier-Karikatur; eine ikonographische Studie zur bildenden Kunst neunzehnten Jahrhunderts.Baur, Otto, January 1973 (has links)
Inaug.-Diss.--Cologne. / Bibliography, p. 337-348.
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Francisco Goya, las Pinturas NegrasHeuken, Bernhard, January 1974 (has links)
Thesis--Bonn. / Vita. Includes bibliographical references (p. 430-438).
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Francisco Goya, las Pinturas NegrasHeuken, Bernhard, January 1974 (has links)
Thesis--Bonn. / Vita. Includes bibliographical references (p. 430-438).
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Senhoras e senhores, com vocês, os palhaços grotescos Doutor, Capitão, Woyzeck! /Santos, Leandro Lago, 1982- January 2016 (has links)
Orientador: Mário Fernando Bolognesi / Banca: Wagner Francisco Araújo Cintra / Banca: Plínio Santos Fontenelle / Resumo: O presente trabalho propõe reflexões sobre o fenômeno do grotesco, que se define a partir de alguns aspectos como: estranho, bizarro, disforme, ridículo, híbrido, monstruoso, extravagante, cômico, trágico e tragicômico, trazendo como foco para esta discussão sua capacidade de dialogar elementos aparentemente contraditórios. Estas oposições que identificam tal fenômeno manifestam-se a partir de seu aspecto tragicômico. Soma-se a esta reflexão, aspectos característicos da linguagem do palhaço, em que o grotesco tragicômico é apontado como um dos importantes elementos constituintes dessa figura cômica, conforme exemplificados na dupla de palhaços, Branco e o Augusto. Toda esta discussão nos leva ao principal objetivo deste trabalho que é estabelecer uma analogia entre o grotesco tragicômico no palhaço e as personagens Doutor, Capitão e Woyzeck da obra Woyzeck de Georg Büchner. Nesse sentido, a pesquisa mostra-se importante na medida em que, propõe a discussão sobre o fenômeno estético do grotesco tragicômico, de forte influência em inúmeras produções artísticas e dramatúrgicas, ampliando nossa compreensão sobre o homem moderno, fortemente caracterizado por suas contradições. Além disso, aliar essa reflexão ao palhaço, nos ajuda a compreender os aspectos cômicos dessa figura, expandindo nossa forma de conceber o riso naturalmente atrelado à figura do palhaço, na sua capacidade de buscar no trágico da vida inspiração para suscitar o cômico. É a partir dessa reflexão, que buscamos uma aproximação entre esses aspectos do palhaço com algumas personagens da obra Woyzeck mantendo vivos um autor e uma obra de grandes contribuições para a história da dramaturgia moderna e contemporânea / Abstract: This work proposes reflections on the grotesque phenomenon, which is defined from some aspects such as: strange, bizarre, shapless, ridiculous, hybrid, horrendous, extravagant, funny and tragicomic, bringing as focus to this discussion it's ability to dialogue seemingly contradictory elements. These oppositions that identify this phenomenon manifested from it's tragicomic aspect. Added to this reflection, characteristic features of the clown language, in which the tragicomic grotesque is pointed out as one of the important constituents of this comic figure, as exemplified in the pair of clowns, Branco and Augusto. All of this discussion leads us to the main goal of this work, which is to establish an analogy between the tragicomic grotesque on the clown and the characters Doctor, Captain and Woyzeck of the artwork 'Woyzeck' by Georg Büchner. In this way, the research shows itself important as far as proposes a debate of the aesthetic phenomenon of tragicomic grotesque, strong influence in many artistic and dramaturgical productions, expanding our understanding of modern man, strongly characterized by its contradictions. Also, combine this reflection to the clown, helps us to understand the comedic aspects of this character, expanding our way of conceiving the laughter naturally, linked to the clown character, in their ability to seek the tragic aspect of life, inspiration to raise the comic. It is from this reflection, we seek an approach between these aspects of the clown with some characters of Woyzeck work keeping alive an author and an artwork of great contributions to the history of modern and contemporary dramatic art / Mestre
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A representação do feio na arte : um breve estudo sobre quatro gravuras de Francisco Goya /Oliveira, Sandra Regina Marin de. January 2013 (has links)
Orientador: José Leonardo do Nascimento / Banca: Amílcar Torrão Filho / Banca: Sergio Mauro Romagnolo / Resumo: A presente dissertação aborda o conceito de Grotesco na Estética e na História da Arte, analisados sob dois aspectos principais: da forma como esse conceito foi transformado desde a época da Grécia Antiga até o século XIX (período de grandes mudanças formais da representação humana nas Artes) e do exemplo do artista Francisco de Goya, através de sua série de gravuras Los Desastres de la Guerra, composta por imagens violentas; grotescas, híbridas e trágicas, que refletem esteticamente o horror advindo da Guerra de Independência e do retorno de um Estado Monárquico e Absoluto. Nossa pesquisa tem por meta avaliar as mudanças políticas, sociais e culturais que influenciaram a transformação desses conceitos estéticos e a aceitação desses novos paradigmas que resultaram numa mudança de visão e fruição da própria Arte entre os séculos XVII e XIX (época de ascensão do Liberalismo e Iluminismo), mostrando como os acontecimentos históricos podem transformar os conceitos artísticos de acordo com as necessidades humanas de retratar seu próprio tempo. Os procedimentos metodológicos foram de revisão bibliográfica parcial sobre as questões do Grotesco na Arte e uma pesquisa sobre a vida e obra de Goya, utilizando as imagens acima citadas, que aqui são analisadas do ponto de vista iconológico / Abstract: The current dissertation accosts the concept of "Grotesque" in Aesthetics and history of Arts analysed under two main aspects: the way this concept was transformed since the times of Ancient Greece until the nineteenth century ( a period of great formal changes of the human representation and other pictorial genres, and the example of the artist Francisco de Goya through his series of etchings The Disasters of War, composed by violent, hybrid and tragic images, which reflect aestheticly the horrors resulted from the War of Independence and the return of a Monarchic and Absolutist State. Our research objectives have the aim of appraising political, social and cultural factors that influenced the processing and acceptance of new paradigms such as the Grotesque in art making, that resulted in a change of vision and enjoyment of the Art itself between the seventeenth the nineteenth centuries (time of the rise of Liberalism and Iluminism), showing how this concept was transformed by artistic, cultural and historical events according to the Human needs of portraying their own time. The methodological procedures were of a partial bibliographical review about the issues of the Grotesque in art and a research of the life and work of Goya, using the prints cited before, which are here analysed from an iconological point of view / Mestre
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Senhoras e senhores, com vocês, os palhaços grotescos Doutor, Capitão e Woyzeck! / Ladies and gentlemen, with you, the grotesque clowns Doctor, Captain and Woyzeck!Santos, Leandro Lago [UNESP] 12 May 2016 (has links)
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Previous issue date: 2016-05-12 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O presente trabalho propõe reflexões sobre o fenômeno do grotesco, que se define a partir de alguns aspectos como: estranho, bizarro, disforme, ridículo, híbrido, monstruoso, extravagante, cômico, trágico e tragicômico, trazendo como foco para esta discussão sua capacidade de dialogar elementos aparentemente contraditórios. Estas oposições que identificam tal fenômeno manifestam-se a partir de seu aspecto tragicômico. Soma-se a esta reflexão, aspectos característicos da linguagem do palhaço, em que o grotesco tragicômico é apontado como um dos importantes elementos constituintes dessa figura cômica, conforme exemplificados na dupla de palhaços, Branco e o Augusto. Toda esta discussão nos leva ao principal objetivo deste trabalho que é estabelecer uma analogia entre o grotesco tragicômico no palhaço e as personagens Doutor, Capitão e Woyzeck da obra Woyzeck de Georg Büchner. Nesse sentido, a pesquisa mostra-se importante na medida em que, propõe a discussão sobre o fenômeno estético do grotesco tragicômico, de forte influência em inúmeras produções artísticas e dramatúrgicas, ampliando nossa compreensão sobre o homem moderno, fortemente caracterizado por suas contradições. Além disso, aliar essa reflexão ao palhaço, nos ajuda a compreender os aspectos cômicos dessa figura, expandindo nossa forma de conceber o riso naturalmente atrelado à figura do palhaço, na sua capacidade de buscar no trágico da vida inspiração para suscitar o cômico. É a partir dessa reflexão, que buscamos uma aproximação entre esses aspectos do palhaço com algumas personagens da obra Woyzeck mantendo vivos um autor e uma obra de grandes contribuições para a história da dramaturgia moderna e contemporânea. / This work proposes reflections on the grotesque phenomenon, which is defined from some aspects such as: strange, bizarre, shapless, ridiculous, hybrid, horrendous, extravagant , funny and tragicomic, bringing as focus to this discussion it’s ability to dialogue seemingly contradictory elements. These oppositions that identify this phenomenon manifested from it’s tragicomic aspect. Added to this reflection, characteristic features of the clown language, in which the tragicomic grotesque is pointed out as one of the important constituents of this comic figure, as exemplified in the pair of clowns, Branco and Augusto. All of this discussion leads us to the main goal of this work, which is to establish an analogy between the tragicomic grotesque on the clown and the characters Doctor, Captain and Woyzeck of the artwork ‘Woyzeck’ by Georg Büchner. In this way, the research shows itself important as far as proposes a debate of the aesthetic phenomenon of tragicomic grotesque, strong influence in many artistic and dramaturgical productions, expanding our understanding of modern man, strongly characterized by its contradictions. Also, combine this reflection to the clown, helps us to understand the comedic aspects of this character, expanding our way of conceiving the laughter naturally, linked to the clown character, in their ability to seek the tragic aspect of life, inspiration to raise the comic. It is from this reflection, we seek an approach between these aspects of the clown with some characters of Woyzeck work keeping alive an author and an artwork of great contributions to the history of modern and contemporary dramatic art.
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Goya's grotesque : abjection in los Caprichos, Desastres de la Guerra, and los DisparatesHerbst, Michael January 1999 (has links)
Thesis (Ph.D.)--University of the Witwatersrand, Arts Faculty (Fine Arts), 1999 / My basic premise in this study is, if abjection is a psychosocial phenomenon, even
a kind of waste category and mechanism, it should be discernible and analysable as
an underlying structure in the form, iconography and purpose of works of art. Certain
modes of art will manifest or express it more lucidly and abundantly than
others. Satire and the Grotesque, which Goya adopts in his graphic Work, are especially
fruitful in this regard. In both, one can find processes and states of degradation
and vitiation that accord with the two facets of abjection Hal Foster (1996) so
pragmatically terms the operation to abject and the condition to be abject. Satire, with
its inclination to criticise political, social and ecclesiastical figures, can chiefly be
interpreted in terms of the operation to abject (to lower, cast down, depose, sideline),
while the Grotesque, displaying the distorted, monstrous, 'freakish', hybrid, impossible,
relates more to tire condition to be abject.
This conjunction between satire/the Grotesque and abjection guides my interpretation
of Los Caprichos and Los Disparates. Los Caprichos, in which Goya took it
upon himself to "censure" and "ridicule" "human errors and vices", are marked by
a quite strict use of satire to criticise, mock and marginalise certain social groups
(prostitutes, nobles and corrupt clerics, in particular). Since society, or the Symbolic
that undergirds it, cannot do without the abject, either in its role as midden or as
oppositional determinant or defining other, the satirical project cannot banish or
destroy the abject; it can, however, bid and lobby for some degree of social reclamation
and rejuvenation. The satirist depicts the grotesque, sordid, obscene, deviant,
abandoned and licentious to indicate to the viewer/reader what s/h e must laugh
off to live a decent, obedient, constructive and law-fearing life. Goya takes this aapproach
in Los Caprichos. After all, in at least one letter to his friend Martin Zapater he
hinted that he feared the "witches, goblins, phantoms, arrogant giants, knaves"
and "scoundrels" of his society, and evidently felt a need to part from them. How
deep this need ran one cannot say; many of his images suggest a degree of equivocation
(he vacillates between being on the side of the law and on the side of Ms
own more incorruptible conscience, from which he upbraids the law) and ambivalence
(on the one hand, he scolds his objects of attack and appears to be repelled by
them; on the other, he seems to relish depicting them in grotesque and blighted
shapes, as if the satirical purpose is secondary to the opportunity his art provides to
invent forms and get close to the forbidden, the anti-social, the rotten, the abject).
In Los Disparates equivocation and ambivalence come more to the fore. Goya often appears most aggressively satirical in the Disparates when he questions corruption
in social institutions such as tire Church and the law. Some images, notably
Folhj of the Mass, juxtapose a wrathful figure with a mass of social ills, foibles and
depravities, and seem characteristically satirical, but the majority of the etchings
are striking in their lack of closure, as if a "state of unresolved tension", to quote
Michael Steig, adequately rewarded Goya for the labour of production. Man xoandering
among Phantoms, for example, is ambiguous and seems to sum up Goya's relationsMp
to the abject toward the end of his life: through the surrogate of an old man,
Goya appears to have struck a deal with the abject; submerged in it, corrupted by it,
impure, but nevertheless sufficiently single-minded to find an identity separate from
it. Complicit, but differentiated: all subjects stand in this way to the abject.
In Los Desastres, especially given that I do not deal with the Caprichos Enfdticos
section of the series, my interpretation is determined less by satire than by the question of how an antagonistic nation uses war as a mechanism of conclusive abjection
to extend military, political and, ultimately. Symbolic influence - by means
of sanctioned murder, execution, even rape - over another nation, w ith the aim of
making that nation succumb to the abjection of surrender and the imposition of a
foreign Symbolic. War also produces heaps of corpses and, in the occupied cities, ill
and starving destitutes: those reduced to conditions of permanent or near-permanent
abjection by war's ballistic exacerbation of the operation to abject.
Contact with abjection through art strengthens, weakens and expands the self.
It carries the threat of immersion in the repressed and the promise of risque pleasure
- both from the diminution of unpleasure through the making or viewing of
art, and the more positive pleasure of jouissance. Contact with abjection allows,
further, for the complicated experience of being liminal, grotesque and abject oneself
while caught between the poles of the Symbolic and tire abject. Whether we, as
makers an d /o r viewers, criticise or joy in it, abjection holds out the alluring prospect
of catharsis and temporary relief both from its own hazards and the rigours
and inhibitions of social life. Goya, it would appear, found this intervenient condition
compelling enough to return to it - if he ever truly left it - over a period of
almost three decades through the medium of the three graphic series I explore in
this dissertation.
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"From hidden to (over-)exposed" the grotesque and performing bodies of World War II Nazi concentration camp prisoners /List, Jeff. January 2007 (has links)
Thesis (M.A.)--Bowling Green State University, 2007. / Document formatted into pages; contains viii, 105 p. : ill. Includes bibliographical references.
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Beauty and the grotesque in the porcelain work of Shary Boyle : a study in subversion.Murphy, Sarah Grace 07 April 2010 (has links)
Contemporary Canadian artist Shary Boyle's varied body of work includes: drawings, paintings, performance art and sculpture. While Boyle has received national and international recognition, there has not been an in-depth scholarly study of this prolific artist. In particular, this thesis will focus on Boyle's lace draped porcelain figures, created between 2002-2006, as well as select drawings from her "Porcelain Fantasy Series." It will examine her use of both the familiar, as well as the subversive powers of the grotesque, as she appropriates visual motifs used in traditional porcelain figurines. Through the grotesque she disrupts and challenges patriarchal constructions, and the consumption, of feminine beauty that is typically represented in these figurines. Her work both critiques and draws attention to restrictions these constructions have placed on women, as well as providing images of emancipation.
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Maler, Monstren, Muschelwerk Wandlungen des Grotesken in Literatur und Kunsttheorie des 18. und 19. JahrhundertsScheidweiler, Alexander January 2009 (has links)
Zugl.: Heidelberg, Univ., Diss., 2009
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