Zes mascarons 1866

Curator: Before us we have “Zes mascarons,” a drawing in pencil from 1866 by Michel Liéenard. It depicts six unique grotesque faces or masks arranged on a single page. They each bear this intimidating, almost devilish air. What is your initial reaction to them? Editor: Immediately, they strike me as playful rather than terrifying. Like a parade of quirky spirits. I am intrigued by the variety of forms, but are we looking at imaginative portraits, or are they derived from something real? Curator: That's an interesting question! Mascarons like these were usually ornaments. Carved stone faces attached to buildings, particularly keystones above arches. This sheet is a study of possible designs, part of the visual culture in architecture from that period. Editor: So these little monsters had a real presence in 19th-century cities, guarding doorways, making pronouncements... It does shift my perception, seeing them not as pure fantasy, but design for actual objects imbued with social meaning and cultural function. Curator: Exactly. The proliferation of classical motifs served an aesthetic function, certainly, but it spoke to social aspirations for status and an embrace of imperial narratives—these structures weren't accidental. Consider, also, that their grotesque features ward off evil—or perhaps warn of the consequences of transgressions against social decorum. Editor: That tension between beauty and the grotesque makes them quite compelling. Liéenard’s drawings remind me a bit of dreams and myth, with their unsettling animal features—I'm particularly drawn to the way he suggests textures like fur and shell. They almost seem alive. Curator: They are! And I would add they also allow us a window into understanding the language of design at that time. They represent social ideas and architectural trends with the cultural baggage from a certain period. Editor: Thinking about these drawings today, makes me realize the masks remind us that buildings are not only bricks and mortar, but repositories of cultural aspiration and also fear. Liéenard captured all of this so beautifully! Curator: Indeed. These "Zes mascarons," this intriguing convergence between design, fantasy, and, to some extent, control, give us insight into that precise moment in time.