The muzzle-like profile
On the left, the face pushes forward into a heavy, folded snout and drooping lip. It looks more like a bulldog than a person.

“This 17th-century etching by Wenceslaus Hollar showcases two strikingly unusual faces, an example of the era's fascination with grotesque figures and the exploration of human physiognomy through art.”
Wenceslaus Hollar, a prolific printmaker of the 17th century, created this intriguing etching in 1645. While Hollar is perhaps best known for his detailed topographical views and naturalistic studies, this piece, "Two Deformed Heads with Very Long Upper Lips," reveals a different facet of his artistic curiosity. It belongs to a tradition of grotesque or caricature studies, which became popular in European art during this period. Artists often explored the boundaries of human physiognomy, sometimes for satirical purposes, other times as a purely artistic exercise in depicting the unusual. This print, with its exaggerated features, invites viewers to consider the nature of beauty and deformity, and how slight alterations can transform a familiar face into something unsettling or even comical. It's a small but powerful example of how Hollar, even when straying from his typical subjects, maintained a remarkable precision in his etched lines.
Five details hide in plain sight. Pick one and we’ll show you exactly where to look.
On the left, the face pushes forward into a heavy, folded snout and drooping lip. It looks more like a bulldog than a person.
On the right, a furrowed brow, hard stare and pushed-out lip give this old man a bitter, sour look. Notice how the wrinkles pile up around the mouth.
The two heads face each other across a pale gap, like a staged argument. Their mirrored profiles lock the eye into the space between them.
The tall swept-back hair is built from many fine lines that fan upward and outward. The thin, needle-like strokes make it feel light, almost like a flame.
The left figure wears a soft, lumpy cap that swells upward like another strange growth. It adds to the unsettling effect of the head's shape.
The full narration walks you through Two Deformed Heads with Very Long Upper Lips — the story behind it, the details most visitors miss, and why it matters. Free in the Art Whisper app.
Leonardo da Vinci, the ultimate Renaissance polymath, filled notebooks with observations on everything from anatomy to flight, alongside masterpieces like the 'Mona Lisa'.
Mona Lisa
1503 · Department of Paintings of the Louvre
A Bear Walking
1477 · The Metropolitan Museum of Art
Compositional Sketches for the Virgin Adoring the Christ Child, with and without the Infant St. John the Baptist; Diagram of a Perspectival Projection (recto); Slight Doodles (verso)
1480 · The Metropolitan Museum of Art
The Head of the Virgin in Three-Quarter View Facing Right
1510 · The Metropolitan Museum of Art
Three Heads in Profile
The Metropolitan Museum of Art
Portrait of a Musician
1485 · Pinacoteca Ambrosiana
Beyond da Vinci and Renaissance: works from the same years, and from the other movements Two Deformed Heads with Very Long Upper Lips belongs to.
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The Entombment of Christ
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Same era · 1630s–1660s
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Johannes Vermeer · 1658 · The Frick Collection
Same movement · Academic art
Head of a Child
Jacques-Louis David · 1768 · The Metropolitan Museum of Art
Same era · 1630s–1660s
Paulus Verschuur (1606–1667)
Frans Hals · 1643 · The Metropolitan Museum of Art
Same movement · High Renaissance
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Titian · 1504 · Royal Museum of Fine Arts Antwerp
Same era · 1630s–1660s
The Night Watch (De Nachtwacht)
Rembrandt · 1642
Same movement · Academic art
Joseph-Antoine Moltedo (born 1775)
Jean-Auguste-Dominique Ingres · 1805 · The Metropolitan Museum of Art
Same era · 1630s–1660s
The Wedding of Peleus and Thetis
Peter Paul Rubens · 1636 · Art Institute of Chicago
Same movement · Academic art
Male Academy Figure: Half-Length, Side View
Eugène Delacroix · 1819 · Karen B. Cohen Collection
Same era · 1630s–1660s
An Elegant Company
Samuel Alcock & Company · 1632 · Art Institute of Chicago
Same era · 1630s–1660s
Portrait of Elisabeth Dorothea of Saxony-Gotha-Altenburg
Salomon Duarte · 1650 · Bavarian State Painting Collections
Same era · 1630s–1660s
The Denial of Saint Peter
Georges de La Tour · 1650 · Nantes Museum of Arts
Same era · 1630s–1660s
Saint Romanus of Antioch and Saint Barulas
Master of the View of Saint Gudula · 1638 · Art Institute of Chicago
Same era · 1630s–1660s
Portrait of a man
Willem van der Vliet · 1634 · Pushkin Museum of Fine Arts
Same era · 1630s–1660s
Abraham and Isaac
Rembrandt van Rijn · 1645 · Art Institute of Chicago
Same era · 1630s–1660s
Tree Peonies in Full Bloom
Artist Unknown - The Mercat Cross, Aberdeen · 1644 · Art Institute of Chicago
Same era · 1630s–1660s
Portrait of Edouard Molé
Robert Nanteuil · 1653 · Art Institute of Chicago