Monstrous events in Italy

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The concept of “monster” is closely related to the sensitivity of a given people
or a certain time, and responds to cultural, environmental, geographical and there
time. Although it is different then the “perception” of the monster in the different
cultures, attendance “monstrous” and fantastic raging in religions,
in the art, in the literature of each of them.


In the arts gurative fi monsters represent the celebration of the miraculous,
referring to the very meaning original etymology of the term “Monstrum”
ie marvel, amazing, everything that inspires admiration, surprise and
wonder, that is independent from nice / bad, right / wrong, that attracts and repels
at the same time.
Depending on the historical periods the monster changes its appearance, becoming representation,
often caricatured, the company also based on the costume
and in elements from everyday life.
Monstrous figures were painted in the scratches you already by primitive peoples, and sophisticated –
guravano usually about fear of the unknown man”. Taking appearance
scary in the middle between the human and the animal, often in connection
with the sacred and the divine.
During the Middle Ages the fashion of the monstrous and the bizarre triumphs. Beings
monstrous multiply in the bestiaries, in cosmographers ee on the edge of the manuscripts,
constantly populating the bas-reliefs of Gothic cathedrals.
It is a ‘set of themes, legends and fi gures in which animals and men exchange
limbs and organs, which then are grafted plants and objects.
Inspired by the famous “grotesque” found in the Domus Aurea, great personalities
Renaissance have shaped visions and mental constructs
fruit of imagination and fantasy, presenting, spreading it further,
the theme of the hybrid and the monstrous rediscovered in those queer
paintings, as Imitatio antiquitatis.
While science and fi losofi to, questioning the anomaly of nature, trying
of care classification and cataloging the diversity of the living world, the art gave
vent the irrational and the unconscious.
The enigmatic allegorical visions of Hieronymus Bosch, as in refining –
born personification tions of proverbs in style fi abesco Bruegel the Elder, the art of
then, like today, he uses the monster to warn and educate,
but just to be ironic about humankind, offering a lucid analysis
of society through the caricature of vice and virtue.
Matteo Pacini

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