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MANNERISM & OTHER 16th CENTURY ART
MANNERISM & OTHER 16th CENTURY ART
MANNERISM & OTHER 16th CENTURY ART
Frontispiece of the Codex MendozaViceroyalty of New Spain.c 1541-1542 CE. Pigment on paper.
The Codex Mendoza is an Aztec book, created about twenty years after the 1521 Spanish conquest of Mexico with the intent that it be seen by Charles V, the Holy Roman Emperor and King of Spain. It contains a history of the Aztec rulers and their conquests, a list of the tribute paid by the conquered, and a description of daily Aztec life, in traditional Aztec pictograms with Spanish explanations and commentary.The codex is named after Don Antonio de Mendoza, then the viceroy of New Spain, who may have commissioned it.
MANNERISM & OTHER 16th CENTURY ART
Frontispiece of the Codex MendozaViceroyalty of New Spain.c 1541-1542 CE. Pigment on paper.
The Codex Mendoza is an Aztec book, created about twenty years after the 1521 Spanish conquest of Mexico with the intent that it be seen by Charles V, the Holy Roman Emperor and King of Spain. It contains a history of the Aztec rulers and their conquests, a list of the tribute paid by the conquered, and a description of daily Aztec life, in traditional Aztec pictograms with Spanish explanations and commentary.The codex is named after Don Antonio de Mendoza, then the viceroy of New Spain, who may have commissioned it.
MANNERISM & OTHER 16th CENTURY ART
The Codex’s frontispiece relates information about the organization and foundation of the Aztec capital, Tenochtitlan, or the place of the prickly pear cactus. Tenochtitlan was established in the middle of Lake Texcoco in the Valley of Mexico in 1325. Given that much of the former Aztec capital is below modern-day Mexico City, the Codex Mendoza frontispiece corroborates other information we have about the capital city and its origins. For instance, it shows us a schematic diagram of Tenochtitlan, with the city divided into four parts by intersecting blue-green undulating diagonals. The city was made of canals, similar to the Italian city of Venice, and was divided into four quarters. The image displays the division of the city and the canals running through it. The division of the city into four parts was intended to mirror the organization of the universe, believed to be four parts aligned with the four cardinal directions(north, east, south, west).
Frontispiece of the Codex MendozaViceroyalty of New Spain.c 1541-1542 CE. Pigment on paper.
MANNERISM & OTHER 16th CENTURY ART
MANNERISM & OTHER 16th CENTURY ART
Mosque of Selim IISinan (architect), Edirne, Turkey.c 1568-1575 CE. Brick and stone.
The Selimiye Mosque, an Ottoman mosque, was commissioned by Sultan Selim II, and was built by an architect named Mimar Sinan between 1569 and 1575. It was considered by Sinan to be his masterpiece and is one of the highest achievements of Islamic architecture.The mosque’s main structure consists of a succession of 18 small domes dominated by a huge central dome.
MANNERISM & OTHER 16th CENTURY ART
Beneath the main dome, which is supported by eight columns placed close to the walls—an innovation at the time—is the sanctuary, a large square space. Four tall, slender, three-balconied minarets on the structure’s corners contrast with the mass of domes and half-domes. The mosque forms an architectural whole, with adjacent complementary buildings, including a school, a library, and a theological college, now housing archaeological and ethnographic museums.
Mosque of Selim IISinan (architect), Edirne, Turkey.c 1568-1575 CE. Brick and stone.
MANNERISM & OTHER 16th CENTURY ART
Beneath the main dome, which is supported by eight columns placed close to the walls—an innovation at the time—is the sanctuary, a large square space. Four tall, slender, three-balconied minarets on the structure’s corners contrast with the mass of domes and half-domes. The mosque forms an architectural whole, with adjacent complementary buildings, including a school, a library, and a theological college, now housing archaeological and ethnographic museums.
Mosque of Selim IISinan (architect), Edirne, Turkey.c 1568-1575 CE. Brick and stone.
MANNERISM & OTHER 16th CENTURY ART
Mannerism
Parmigianino, Madonna with the Long Neck, 1534-40.
MANNERISMPeriod from High Renaissance (1520) to Baroque (1590)Comes from the Italian maniera, or "style," in the sense of an artist's characteristic "touch" or recognizable "manner."
Elongated proportions
Intense contrast & lighting
Twisted poses
Keywords: Busy, Dark, Twisted, Shadows, Dramatic, Clouds, Asymmetrical
MANNERISM & OTHER 16th CENTURY ART
Mannerism Examples of Mannerist
MANNERISM & OTHER 16th CENTURY ART
Mannerism
Tintoretto, The Last Supper, 1592-94, Oil on Canvas.
MANNERISM & OTHER 16th CENTURY ART
Mannerism
El GrecoNicknamed “The Greek”, he was born
in Greece and lived in Italy, but created most of his mature pieces in
Madrid and Toledo (Spain)
El Greco, Portrait of a Man (presumed self-portrait of El Greco),
circa 1595–1600, oil on canvas.
MANNERISM & OTHER 16th CENTURY ART
Mannerism
El Greco, Assumption of the Virgin, 1577.
MANNERISM & OTHER 16th CENTURY ART
Mannerism
El Greco, Burial of Count Orgaz, 1586-88.
MANNERISM & OTHER 16th CENTURY ART
Mannerism
El Greco, The Holy Trinity,1577-79, oil on canvas, Museo del Prado, Madrid, Spain.
MANNERISM & OTHER 16th CENTURY ART
Mannerism
Rosso Fiorentino(meaning "the Red
Florentine" in Italian)
Rosso Fiorentino. Deposition. 1521, Oil on wood..
MANNERISM & OTHER 16th CENTURY ART
Mannerism
Compare Fiorentino’s Deposition toVan der Weyden’s Deposition…
MANNERISM & OTHER 16th CENTURY ART
Mannerism
Rosso Fiorentino, Moses Defending the Daughters of Jethro, c1523 at the Uffizi
Gallery, Florence.
MANNERISM & OTHER 16th CENTURY ART
Mannerism
Jacopo da PontormoBorn Jacopo Carucci in Pontormo
Jacopo Pontormo, Deposition from the Cross, 1525-1528. MANNERISM
MANNERISM & OTHER 16th CENTURY ART
Mannerism
Jacopo Pontormo, Deposition from the Cross (Entombment of Christ),Oil on wood. 1525-1528. MANNERISMThis painting suggests a whirlwind of grief. They inhabit a flattened space with bright colors. The center of the composition droops down towards the limp body of Jesus off center in the left. Those lowering Christ appear to demand our help in sustaining the weight of his twisted body. No Cross is visible; the natural world itself also appears to have nearly vanished: only a lonely cloud exists as bright swathes of pink and blue envelop the pallid, limp Christ. The Virgin, larger than her counterparts, swoons sideways inviting the support of those behind her; the Swoon of the Virgin was a controversial moment at the time. The assembly looks completely interlocked, but ultimately, the most compelling and empathic figure is the crouching man in the foreground, whose expression mixes the weight of the cadaver and the weight of melancholy.
MANNERISM & OTHER 16th CENTURY ART
Mannerism
MANNERISTARCHITECTURE
Went against the grain of Renaissance Architecture by using Classical forms in illogical ways
This is mostly due to the style being used only for secular purposes
Symmetrical but highly ornamental
Colossal order
“Blind Windows”
Il Gesu, 1550s. MANNERISM
Il Gesu, 1550s. MANNERISM
MANNERISM & OTHER 16th CENTURY ART
Mannerism Il Gesu, 1550s. MANNERISM
MANNERISM & OTHER 16th CENTURY ART
Mannerism Il Gesu, 1550s. MANNERISM
MANNERISM & OTHER 16th CENTURY ART
Mannerism
Giovanni Battista GaulliThe Triumph of the Name of JesusIl Gesù ceiling fresco, 1672-1685
This fresco is not Mannerist in time or style, but by far Gaulli’s best work. Gaulli's nave masterpiece is an allegory of the work of the Jesuits that envelops worshippers (or observers) below into the whirlwind of devotion. The vault of the nave at the Gesù was finally unveiled on Christmas Eve of 1679. A multi-media extravaganza of fresco painting, stucco, and architecture, it is a masterpiece of illusionism. It is as if the gilded stucco decoration of the ceiling, supported by white stucco angels, has opened up giving a vision of the heavens.
MANNERISM & OTHER 16th CENTURY ART
Mannerism
Giovanni Battista GaulliThe Triumph of the Name of JesusIl Gesù ceiling fresco, 1672-1685
The angels are the work of Ercole Antonio Raggi, right-hand man to Bernini, another reminder of the close link between Gaulli and his mentor. At the centre the monogram of the Jesuits, IHS – an abbreviation of Christ’s name – radiates blinding light and cherubim. To the left, projecting out from the field of the painting, the Magi proffer their gifts to the name of Christ. The great theatrical effect here inspired and developed under his mentor, prompted critics to label Gaulli a "Bernini in paint" or a "mouthpiece of Bernini's ideas".
MANNERISM & OTHER 16th CENTURY ART
Mannerism
Giovanni Battista GaulliThe Triumph of the Name of JesusIl Gesù ceiling fresco, 1672-1685
MANNERISM & OTHER 16th CENTURY ART
Mannerism San Giovani in Laterano (Mannerism)
MANNERISM & OTHER 16th CENTURY ART
Mannerism
MANNERISTSCULPTURE
This version of the Rape of the Sabine Women has a vertical, spiraling composition that displays figura serpentinata (a twisting of the figures much like a serpent or snake).
This statue depicts the story of how the Roman men made peace with the neighboring Sabines by abducting their women to take back as wives and populate Rome.
Giovanni Bologna, Rape of the Sabine Women, 1574-82. MANNERISM
MANNERISM & OTHER 16th CENTURY ART
Mannerism Mannerism in Review
Let’s recap MANNERISM:
1.Figures are elongated and disproportionate
2.Asymmetrical (or even unbalanced) compositions
3.Unusual light sources (often unnatural or artificial)
4.Figura Serpentinata (Twisting of the body poses)
Parmigianino, Madonna with the Long Neck, 1534-40.
