Sentence examples for grotesque realism from inspiring English sources

The grotesque realism of Thomas Hirschhorn's wounded shop dummy soldiers decorated with imagery of mutilated war victims would strike a difficult, but perfectly pitched note in this context were it not for his gallery's "shop" tacked on next door.

Ramsland himself describes the style of his tragicomic family saga as "grotesque realism," while critics in Europe have compared his work to that of T. C. Boyle and John Irving.

She leavens her exacting, sometimes grotesque realism, which evokes Neue Sachlichkeit, with regular doses of neo-Expressionist extravagances ?a Martin Kippenberger and occasional bits of art-historical quotation (from van Gogh, for example).

Influenced by Sartre's existentialism and Rabelais's grotesque realism, and an American tradition from Twain to Norman Mailer, Oë created anti-heroes who wallow in abject shame and disgrace, disgusted at "civilisation".

Especially the months of March, April and May, which were painted by del Cossa, who, just on the evidence of a glance round the room, might singlehandedly have launched the Renaissance away from its earlier more grotesque realism (you just have to look at the work remaining on the other wall, done by the other artists) towards what we've come to recognise as its full grace.

He sees a taste for grotesque magical realism as one of the consequences: vampires and walking beefsteaks, or, to take an example from Alexander Solzhenitsyn, a giant frozen salamander discovered in the tundra, roasted and devoured by starving prisoners.

It was to my eye a thing of great ugliness, not only because of its flat-footed, crudely simplified realism, grotesque scale and stunningly insensitive title, but because of its appeal to a cheap form of patriotic nostalgia.

Alluding to antique paintings representing Jesus' deposition from the cross, it resonates with the often brutal, grotesque and nearly hallucinogenic realism of artists like Hugo van der Goes and Matthias Grünewald.

Artists from Goya to Hans Hofmann have been inspired by such tales, especially their unsettling mix of graphic realism and often grotesque fantasy.

Filling the movie with unimpeachable echoes of post-9/11 politics, he makes thematic connections — of Abel to Powers, of Donovan's haunting memories of East Berlin — with visual device of a grotesque crudeness, a grotesqueness that always remains tasteful and holds itself within the irreproachable bounds of sober and earnest realism.

Clearly, what Roth admires in these writers — or what he has emulated — is their ability to couch the most extravagant, grotesque fantasy in an utterly mundane realism, so that the reader cannot say, "No, this could not happen".