Abstract:
The fascinating and complex nature of the grotesque has garnered a substantial body of literature throughout the years. The grotesque is an aesthetic paradox, existing at margins of beauty and horror, order and chaos, fascination and revulsion. It is a state of perpetual transformation, resisting fixed definitions and conventional boundaries. From its origins in the rediscovered frescoes of Emperor Nero’s buried Domus Aurea to its nineteenth-century manifestation, the grotesque has been a site of tension between the known and the unknown, the rational and the irrational. It unsettles and distorts forcing the viewer into an unrealized confrontation.
This thesis explores the complex relationship that the grotesque has with tragedy, the subconscious, the body, the art world, and time itself. Through these lenses, the grotesque emerges not merely as an ornamental style but as a profound aesthetic and existential mode – one that compels us to confront our fears and desires, our mortality, and the limits of representation. By tracing its evolution from Renaissance ornamentation to Romantic horror, this thesis situates the grotesque within a broader discourse on art, philosophy, and human psychology.
