Oxford Reference Search Results

mascaron   Quick reference

The Concise Oxford Dictionary of Art Terms (2 ed.)

... A decorative grotesque mask, usually found over a door or a...

mascaron   Quick reference

The Oxford Dictionary of Architecture (4 ed.)

... Representation of a human or partly human face, more or less caricatured, used as an architectural ornament, e.g. on a keystone over an...

Mascaron   Reference library

The Grove Encyclopedia of Decorative Arts

... . Decorative grotesque mask, in architecture over a door or fountain and in furniture on gilt-bronze mounts. The Espagnolette is a type of mascaron. Wood-carvings of a burgher and a mascaron on the staircase of the Rathaus, Bremen, Germany, 1620 Erich Lessing / Art Resource, NY C. D’Onofrio : Fountains of Rome , F.M.R. Mag. , lxxxi (Aug 1996), pp. 50–66 G. Manganelli : The Many Faces of Water , F.M.R. Mag , lxxxi (Aug 1996), pp....

mask   Quick reference

The Oxford Dictionary of Architecture (4 ed.)

...1. Representation of a human, animal, or fantastic face used in architectural ornament, often part of grotesque decoration. See mascaron . 2. Label-stop ( 2 ) carved to resemble a head, called head- or mask- stop....

Espagnolette   Reference library

The Grove Encyclopedia of Decorative Arts

.... Term used in English in two unrelated senses. It can denote either the hinged fastening of a French window or a type of Mascaron , specifically a female head surrounded by a stiff ruff, widely used as a motif in French Régence and Louis XV furniture, notably by Charles Cressent (e.g. commode, c. 1730 ; London, Wallace...

bouquetière   Quick reference

The Concise Oxford Dictionary of Art Terms (2 ed.)

...the French for an arranger and seller of flowers, it was a form of glass bowl in late 18th- and early 19th-century France, being a revival of an early Venetian type which had a flared, wide mouth and a wavy-edged brim. It was mounted on a stem and foot and often decorated with mascarons and fluting...

Drentwett   Reference library

The Grove Encyclopedia of Decorative Arts

...and the ends of the cross-guard in the form of lions, the bodies of which extend from cartilage ornament, holding in their paws cartouches with the arms of the Palatinate and the house of Wittelsbach. The sheath is completely covered with cartilage ornament with pinna and mascarons. Abraham Drentwett II ( 1647–1729 ), son of Abraham Drentwett I , was a goldsmith, wax modeller and designer of ornament, his work being published in several series of engravings. His masterpieces include the silver gilt case of a table clock ( c. 1680–83 ; Vienna, Schatzkam....

Wood   Reference library

The Grove Encyclopedia of Materials and Techniques in Art

...from damage due to abrasion and exposure to excessive moisture, and manipulation of the finished surface can achieve a wide range of visual effects. Colour, texture and the gloss level can all be adjusted through various finishing procedures. 6. Wood-carving showing burgher and mascaron, detail from a spiral staircase leading to the great hall of the townhall, Bremen, 1620; photo credit: Erich Lessing/Art Resource, NY The surface treatment of wooden objects falls into the two general categories: transparent coatings and such decorative opaque coverings as ...

Ganymede Painter (c.330–c. 320bc)   Reference library

The Grove Encyclopedia of Classical Art and Architecture

...vases) instead of an eagle. Presumably a representation of a blissful afterlife (given the context and the elaborate floral setting of the scene), it may hold a message of funerary symbolism. Indeed most of the Ganymede Painter’s vases, including many volute kraters with mascarons on the handles and characteristically elaborate neck decoration, were evidently destined for funerary use. Among his subjects, scenes depicting grave shrines ( naiskoi ) predominate, for example the main scene on his name vase. The idea of death is also present in his few other...

Cartography   Reference library

Tom Conley

Encyclopedia of Aesthetics (2 ed.)

...matter is facetiously and unsettlingly oneiric. The cartouche containing the title of Nicolas Tassin’s Carte générale de toutes les costes de France ( 1634 ), a series of carefully delineated maps of the coastline from the Pyrenees to Picardy, is surrounded by a griffin-like mascaron sporting a human face staring at the reader, its tongue drooping from its smiling lips, almost licking the characters of the title, while its extended wings display the claws of and palmate webbing of a monster on whose head is perched the coats of arms of France, the Bourbon...