Throughout our class, we have focused primarily on written texts that catalog or relate to monstrosity, but beyond that we began interpretation of more visual mediums from maps to pictures that acted as primary sources. I would like to extend analysis of visual mediums of monstrosity into the 19th century and onward. Monstrous themes began appearing in European fine art, and I will be highlighting this process through 19th century European paintings. By analyzing the intrusion of monstrosity into a historically pure and chaste art form, we can improve our understanding of the monstrous’ transformation into the modern age as well as receive a new compelling medium with which to understand monstrosity itself.

          While the pages can be read in any order, the following sequence works best to understand the increased presence of monstrosity over time. I will be starting with analysis of Henry Fuseli’s art of Shakespearean monstrosity to establish the beginning of a trend in the painting of monsters. I will then discuss a painting by Théodore Géricault which was impactful in its time and marks a turning point in the styling of the monstrous art. I will follow with an in-depth look of Francisco Goya’s monstrous masterpieces and will conclude by analyzing Picasso’s use of cubism to bring the conversation to an entirely different level.

          All of the painters were famous in their time for their phenomenal art and have stayed relevant over time due to the influence and power of the messages that they left behind. They are from Switzerland, France, and Spain but I hope that these painters can act as a focus group that can help us understand the elevating nature of the monstrous in the painting and in public conscience.