{"id":7518,"date":"2010-08-04T03:13:02","date_gmt":"2010-08-04T02:13:02","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=7518"},"modified":"2010-10-14T16:31:04","modified_gmt":"2010-10-14T15:31:04","slug":"monsters-in-art","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2010\/08\/04\/monsters-in-art\/","title":{"rendered":"Monsters in art"},"content":{"rendered":"<p><a href=\"http:\/\/www.archive.org\/details\/lesmonstresdansl00valtuoft\" target=\"_blank\"><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2010\/08\/monstres1.jpg\" alt=\"monstres1.jpg\" \/><\/a><\/p>\n<p><em>Frontispiece for Goethe&#8217;s Faust (c. 1843) by Eug\u00e8ne Delacroix. <\/em><\/p>\n<p>Or a couple of pages from <em><a href=\"http:\/\/www.archive.org\/details\/lesmonstresdansl00valtuoft\" target=\"_blank\">Les monstres dans l&#8217;art; \u00eatres humains et animaux bas-reliefs, rinceaux, fleurons, etc<\/a>.<\/em>, a study of aesthetic teratogenesis by Edmond Valton from 1905. The Delacroix frontispiece gives a better view than the one at the <a href=\"http:\/\/www.wesleyan.edu\/dac\/coll\/grps\/dela\/faust_01-10.html\" target=\"_blank\">Davison Art Center<\/a> but they have more of the <em>Faust<\/em> lithographs. Emmanuel Fr\u00e9miet&#8217;s animals were created to adorn the restored medieval <a href=\"http:\/\/commons.wikimedia.org\/wiki\/Category:Exterior_of_the_Ch\u00e2teau_de_Pierrefonds\" target=\"_blank\">Ch\u00e2teau de Pierrefonds<\/a> for Napoleon III. The artist had smaller ceramic copies of the statues made later, of which <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2006\/05\/30\/fremiets-lizard\/\" target=\"_blank\">the lizard<\/a> is an improvement on the stone version.<\/p>\n<p><a href=\"http:\/\/www.archive.org\/details\/lesmonstresdansl00valtuoft\" target=\"_blank\"><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2010\/08\/monstres2.jpg\" alt=\"monstres2.jpg\" \/><\/a><\/p>\n<p><em>Fantastic animals (c. 1870) by Emmanuel Fr\u00e9miet.<\/em><\/p>\n<p>Previously on { feuilleton }<br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2007\/10\/02\/the-house-with-chimaeras\/\">The House with Chimaeras<\/a><br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2006\/05\/30\/fremiets-lizard\/\">Fr\u00e9miet\u2019s Lizard<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Frontispiece for Goethe&#8217;s Faust (c. 1843) by Eug\u00e8ne Delacroix. Or a couple of pages from Les monstres dans l&#8217;art; \u00eatres humains et animaux bas-reliefs, rinceaux, fleurons, etc., a study of aesthetic teratogenesis by Edmond Valton from 1905. The Delacroix frontispiece gives a better view than the one at the Davison Art Center but they have &hellip; <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2010\/08\/04\/monsters-in-art\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;Monsters in art&#8221;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2,42,21,48,41],"tags":[1599,1597,1598,5127,655],"class_list":["post-7518","post","type-post","status-publish","format-standard","hentry","category-art","category-books","category-fantasy","category-illustrators","category-sculpture","tag-edmond-valton","tag-emmanuel-fremiet","tag-eugene-delacroix","tag-faust","tag-goethe"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-1Xg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/7518","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=7518"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/7518\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=7518"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=7518"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=7518"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}