GUEDRON Martial (dir.)
How to look at monsters and fantastic creatures.
Hazan
Regular price
€27,00
| N° d'inventaire | 25073 |
| Format | 13.5 x 20 |
| Détails | 384 p., paperback. |
| Publication | Paris, 2011 |
| Etat | Nine |
| ISBN | 9782754114837 |
Appearing since the origins of art, the figures of the strange and monstrosity have composed an inexhaustible repertoire, rich in all sorts of meanings and at the origin of multiple speculations. This book focuses on the iconography of monsters and fabulous beings in Western art, the variants and reuses, the filiations and mutations to which they may have been subject, from Greco-Roman mythology to the present day. It covers all forms of expression that have dealt with the subject, from graphic arts to multimedia art, including painting, sculpture, photography and decorative arts.
The first chapter is devoted to the monsters that classical antiquity bequeathed to Western culture. Then come the evil creatures: comical or repugnant visions of the medieval imagination, marked by Christianization with the seal of damnation, the diabolical, and sin. The third chapter illustrates how monsters drawn from myths and legends were integrated into natural history. The following chapter examines the human body as a vector of the sensational, the terrifying, and the scandalous. Before teratology became established as a science, the distinction between biological monsters and mythological or fantastical creatures was not entirely established. The book closes with the exploitation of monstrous phenomena by the world of entertainment.
The first chapter is devoted to the monsters that classical antiquity bequeathed to Western culture. Then come the evil creatures: comical or repugnant visions of the medieval imagination, marked by Christianization with the seal of damnation, the diabolical, and sin. The third chapter illustrates how monsters drawn from myths and legends were integrated into natural history. The following chapter examines the human body as a vector of the sensational, the terrifying, and the scandalous. Before teratology became established as a science, the distinction between biological monsters and mythological or fantastical creatures was not entirely established. The book closes with the exploitation of monstrous phenomena by the world of entertainment.
The first chapter is devoted to the monsters that classical antiquity bequeathed to Western culture. Then come the evil creatures: comical or repugnant visions of the medieval imagination, marked by Christianization with the seal of damnation, the diabolical, and sin. The third chapter illustrates how monsters drawn from myths and legends were integrated into natural history. The following chapter examines the human body as a vector of the sensational, the terrifying, and the scandalous. Before teratology became established as a science, the distinction between biological monsters and mythological or fantastical creatures was not entirely established. The book closes with the exploitation of monstrous phenomena by the world of entertainment.