Jeanette winterson on writing about art

Her mother was 17, and worked in a factory called Raffles, sewing overcoats for Marks and Spencer. Jeanette was raised to be a missionary.

Jeanette winterson on writing about art

Roman frescos in Nero's Domus Aurea Early examples in Roman ornaments[ edit ] 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 Romeas fresco wall decoration, floor mosaics, etc. The Roman wall decorations in fresco and delicate stucco were a revelation. Etymology in Renaissance[ edit ] Ceiling of the Piccolomini Library The first appearance of the word grottesche appears in a contract of 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 PalaceRome.

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 Madamathe most influential of the new Roman villas.

Maiolica pilgrim bottle with grottesche decor, Fontana workshop, Urbinoc 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, The delight of Mannerist artists and their patrons in arcane iconographic programs available only to the erudite could be embodied in schemes of grottesche, [6] Andrea Alciato 's Emblemata offered ready-made iconographic shorthand for vignettes.

More familiar material for grotesques could be drawn from Ovid's Metamorphoses. 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. Vasari recorded that Francesco Ubertini, called "Bacchiacca"delighted in inventing grotteschi, and about painted for Duke Cosimo de' Medici a studiolo in a mezzanine at the Palazzo Vecchio "full of animals and rare plants".

A classic suite was that attributed to Enea Vicopublished in 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 woodworkin maiolica produced above all at Urbino from the late s, 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 strapworkthe 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 Fontainebleaus From Baroque to Victorian era[ edit ] Grotesque made of gold thread on saddle pad, dated from 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.

jeanette winterson on writing about art

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 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.

Paris Review - Jeanette Winterson, The Art of Fiction No.

Extensions of the term in art[ edit ] 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 Vinciand the modern sense began to develop. It is first recorded in English in from Sir Thomas Browne: A boom in the production of works of art in the grotesque genre characterized the period — 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[ edit ] One of the first uses of the term grotesque to denote a literary genre is in Montaigne's Essays. 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.“I cannot recall a time when I did not know I was special,” writes Jeanette Winterson at the beginning of her fictionalized autobiography Oranges Are Not the Only, indeed, the facts of her life have supported that view.

About Jeanette Winterson. Jeanette was born in Manchester, UK, in Her mother was 17, and worked in a factory called Raffles, sewing overcoats for Marks and Spencer. About Jeanette Winterson.

Jeanette was born in Manchester, UK, in Her mother was 17, and worked in a factory called Raffles, sewing overcoats for Marks and Spencer. Since at least the 18th century (in French, German and English), grotesque (or grottoesque) 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.

From the Archive, Issue 152

The first major review is in and it’s very good! Writing in today’s new edition of Uncut Magazine, Erin Osmon reviews the 4 box sets that make up Kate’s Remastered in Vinyl well as reserving high praise for the included rare tracks on these collections, the reviewer is careful to assess the improvements in the remastered sound of Kate’s classic songs, something we’ve been.

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