Mannerism 1520-1600

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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

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

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

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

Italian artist Jacopo da Pontormo’s Deposition (1525-1528, Church of Santa Felicitá, 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

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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

Perseus and Medusa (1545-54)Loggia dei Lanzi, Florence

Royal Staircase, Stucco in Apartmentsof the Duchesse d'Etampes, Palace ofFontainebleau (c.1530)

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

Villa Capra[or Villa Rotunda]

By AndreaPalladio

1566-1571

“Palladian” architectural style [popular in England]

Entrance to the Villa Farnese at Caprarola

By Giacomo Vignola

1560