Mannerism 1520-1600 KAUSHIK 1410412 Slide 2 What is Mannerism?
The term "Mannerism" derived from the Italian word 'maniera'
Meaning style or stylishness, refers to a style of painting,
sculpture and architecture Emerged in Rome and Florence between
1520 and 1600BC acts as a bridge between the idealized style of
Renaissance art and the dramatic theatricality of the Baroque All
problems of representing reality in the High Renaissance had been
solved and art had reached a peak of perfection and harmony
Replaced harmony with dissonance, reason with emotion, and reality
with imagination Looking for novelty, artists exaggerated the
beauty represented by Michelangelo and Raphael, and sought
instability instead of equilibrium Renaissance: stable triangular
compositions Slide 3 Mannerism Paintings Two detectable strains of
Mannerist painting Early Mannerism (c.1520-35) is known for its
"anti-classical", or "anti- Renaissance" style High Mannerism
(c.1535-1580), a more intricate, inward-looking and intellectual
style, designed to appeal to more sophisticated patrons Mannerist
painting tends to be more artificial and less naturalistic than
Renaissance painting This exaggerated idiom is typically associated
with attributes such as emotionalism, elongated human figures,
strained poses, unusual effects of scale, lighting or perspective
The influence of the renaissance style is clear in the mannerism
painting with rich colors and fine details The name mannerism comes
directly from the first known art historian Giorgio Vasari Giorgio
Vasari himself a mannerism artist and used the Italian term man era
Slide 4 Girolamo Francesco Maria Mazzola Also known as Francesco
Mazzola 11 January 1503 24 August 1540 An Italian Mannerist painter
active in Florence, Rome, Bologna His work is characterized by
elongation of form and includes Vision of Saint Jerome (1527) and
the Madonna with the Long Neck (1534) Madonna of the Rose
Self-portrait in a Convex Mirror Slide 5 A work of art done
according to an acquired style rather than depicting nature Figures
writhe and twist in unnecessary contrapposto Bodies are distorted
generally elongated but sometimes grotesquely muscular Colors are
lurid heightening the impression of tension At end of the
Renaissance male and female costume became darker and more rigid It
was the close of a period of internal peace and the humanist joy of
life and the start of religious tensions between Catholics and
Protestants Madonna with Long Neck, Parmigiano, 1534-40 Slide 6 The
Virgin of the Immaculate Conception Laocon (El Greco) El Grecos
paintings deliberately break away from the balance and harmony of
Renaissance art with their strong emotional atmosphere and
distorted figures. Renaissance Slide 7 Italian artist Jacopo da
Pontormos Deposition (1525-1528, Church of Santa Felicit, Florence,
Italy) shows the characteristics of the Mannerist style. The
arrangement of the figures creates a sense of swirling movement and
helps convey the emotionally charged atmosphere while the body of
Jesus Christ is brought down from the cross and presented to his
mother Mary. The elongated bodies and unnatural compression of
space between the figures are also typical of Mannerism. Deposition
Slide 8 Mannerism Sculpture The Rape of the Sabine Women (1581-3)
Strongly influenced by Italian Renaissance sculpture as well as the
16th century style of Mannerism, the Flemish-born artist
Giambologna was one the greatest sculptors of the cinquecento and
for two centuries after his death his reputation ran a close second
to that of Michelangelo. The court sculptor to three successive
Medici Grand Dukes, his influence on European sculpture was
immense. His marble sculpture The Rape of the Sabine Women (1581-3)
surely ranks among the greatest sculptures of all time. It
contrasts with the earlier statue of David by Michelangelo (1501-4,
Academy Gallery, Florence) in the same way that the writhing
Hellenistic group Laocoon and His Sons(150-40 BCE) contrasts with
the serenity of Polykleitos's High Classical statueDoryphorus
(440). He remains one of the great sculptors in the history of art
Slide 9 Perseus and Medusa (1545-54) Loggia dei Lanzi, Florence
Royal Staircase, Stucco in Apartments of the Duchesse d'Etampes,
Palace of Fontainebleau (c.1530) Slide 10 Mannerism Architecture
Stylishness in design could be applied to a building as well as to
a painting. Showed extensive knowledge of Roman architectural
style. Complex, out of step style taking liberties with classical
architecture. Architecture, sculpture, and walled gardens were seen
as a complex, but not necessary unified whole. Characteristics of
Mannerist Architecture Slide 11 Villa Capra [or Villa Rotunda] By
Andrea Palladio 1566-1571 Palladian architectural style [popular in
England] Slide 12 Entrance to the Villa Farnese at Caprarola By
Giacomo Vignola 1560
