Mannerism is a period of European painting, sculpture, architecture and decorative arts lasting from the later years of the Italian High Renaissance around 1520 until the arrival of the Baroque around 1600. An art period is a phase in the development of the work of an Artist, groups of artists or Art movement. The High Renaissance, in the History of art, denotes the culmination of the art of the Italian Renaissance between 1450 and 1527 Baroque art redirects here Please disambiguate such links to Baroque painting, Baroque sculpture, etc Stylistically, it identifies a variety of individual approaches influenced by, and reacting to, the harmonious ideals associated with Leonardo da Vinci, Raphael, and early Michelangelo. In Art and Painting, style can refer either to the Aesthetic values followed in choosing what to Paint (and how or to the physical techniques Leonardo di ser Piero da Vinci ( April 15 1452 – May 2 1519 was an Italian Polymath, having been a scientist Mathematician, Engineer Raphael Sanzio, usually known by his first name alone (in Italian Raffaello) (April 6 or March 28 1483 – April 6 1520 was an Italian painter and Michelangelo di Lodovico Buonarroti Simoni Two biographies were published of him during his lifetime One of them by Giorgio Vasari, proposed that he was the pinnacle of all In contrast, Mannerism is notable for its intellectual sophistication as well as its artificial (as opposed to naturalistic) qualities. The definition of Mannerism, and the phases within it, continue to be the subject of debate among art historians.
The term is also applied to some Late Gothic painters working in northern Europe from about 1500 to 1530, especially the Antwerp Mannerists and some currents of seventeenth-century literature, especially poetry. This article is about Gothic art See also Gothic architecture Gothic art was a Medieval art movement that lasted about 200 Antwerp Mannerism is the name given to the style of a largely anonymous group of painters from Antwerp in the beginning of the 16th century
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Nomenclature
The word derives from the Italian maniera, or "style," which corresponds to an artist's characteristic "touch" or recognizable "manner". Artificiality, as opposed to Renaissance and Baroque naturalism, provides one of the common features of mannerist art. The Renaissance (from French Renaissance, meaning "rebirth" Italian: Rinascimento, from re- "again" and nascere Naturalism in art refers to the depiction of realistic objects in a natural setting The lasting influence of the Italian Renaissance, as transformed by succeeding generations of artists, is another. The root of the term arose when Giorgio Vasari used the term ‘maniera greca’ to refer to the Byzantine style art, and he simply referred to maniera of Michelangelo. [1]
As a stylistic label, "Mannerism" is not easily pigeonholed. It was first popularized by German art historians in the early twentieth-century to categorize the seemingly uncategorizable art of the Italian sixteenth century—art that was no longer perceived to exhibit the harmonious and rational approaches associated with the High Renaissance. Art history is the Academic study of objects of Art in their Historical development and stylistic contexts i
The term is applied differently to a variety of different artists and styles. John Shearman, who championed the "stylish style" definition of Mannerism, defines it as characterized by an "exquisite and eye-catching display of artistic virtuosity, often eliding or occluding any further purpose" and places "the relevant artistic production in relation to the specific cultural milieu, that of the ultra-refined, hothouse court culture emerging in various sites in the early sixteenth century, marked by confident attitudes on the part of patrons and artists alike. "[2]
Anti-Classical
The early Mannerists—especially Jacopo da Pontormo and Rosso Fiorentino in Florence, Raphael's student in Rome Giulio Romano and Parmigianino in Parma—are notable for elongated forms, exaggerated, out-of-balance poses, manipulated irrational space, and unnatural lighting. Jacopo Carucci ( May 24, 1494 — January 2, 1557) usually known as Jacopo da Pontormo, Jacopo Pontormo or simply Giovanni Battista di Jacopo (1494-1540 known as Rosso Fiorentino (meaning "the Red Florentine" in Italian or Il Rosso, was an Italian Giulio Romano (c 1499 &ndash November 1, 1546) was an Italian painter and architect. Girolamo Francesco Maria Mazzola ( 11 January 1503 - 24 August 1540) also known as Francesco Mazzola or more commonly as These artists matured under the influence of the High Renaissance, and their style has been characterized as a reaction or exaggerated extension of it. Therefore, this style is often identified as "anti-classical" mannerism. [3]
Maniera
Subsequent mannerists stressed intellectual conceits and artistic ability, features that led early critics to accuse them of working in an unnatural and affected "manner" (maniera). Giambologna, born as Jean Boulogne, also known as Giovanni Da Bologna and Giovanni Bologna ( 1529 - August 13 1608) was Pietro Tacca ( September 16, 1557 &ndash October 26, 1640) was an Italian sculptor who was the chief pupil and follower of These artists held their elder contemporary Michelangelo as their prime example. Giorgio Vasari, as artist and architect, exemplifies this strain of Mannerism lasting from about 1530 to 1580. Giorgio Vasari ( 30 July 1511 – 27 June 1574) was an Italian painter and Architect, who is today famous Based largely at courts and in intellectual circles around Europe, it is often called the "stylish" style or the Maniera. [4]
Mannerisms
After 1580 in Italy, a new generation of artists, including the Carracci, Caravaggio and Cigoli, reemphasized naturalism. Michelangelo Merisi da Caravaggio, usually just known as Caravaggio, (28 September 1571 – 18 July 1610 was an Italian Artist active in Rome Lodovico Cardi, also known as Cigoli (1559 - 1613 was an Italian painter and architect of the late Mannerist and early Baroque period trained Walter Friedlaender identified this period as "anti-mannerism", just as the early mannerists were "anti-classical" in their reaction to the High Renaissance. Walter Ferdinand Friedlaender ( March 10, 1873 - September 8, 1966) was a German Art historian. [5] Outside of Italy, however, mannerism continued into the seventeenth century. In France it is known as the Henry II style and it had a particular impact on architecture. The Henry II style was the chief artistic movement of the sixteenth century in France. Important centers include the court of Rudolf II in Prague, as well as Haarlem and Antwerp. Rudolf II ( July 18, 1552, Vienna, Austria - January 20, 1612, Prague, Bohemia, now part of Prague (ˈprɑːg Praha (ˈpraɦa see also other names) is the Capital and Largest city of the Czech Republic. in the past usually Harlem in English is a city in the Netherlands. ||-||-||-||} Antwerp ( Dutch:, French: Anvers) is a City and Municipality in Belgium and the capital of the
Mannerism as a stylistic category is less frequently applied to English visual and decorative arts, where local categories such as "Elizabethan" and "Jacobean" are more common. Romance and reality The Victorian era and the early twentieth century idealised the Elizabethan era Eighteenth-century Artisan Mannerism is one exception. [6]
Historically regarded, Mannerism is a useful designation for sixteenth-century art that emphasizes artificiality over naturalism whilst reflecting the growing self-consciousness of the artist.
History
Mannerism arose in the early 1500s alongside a number of other social, scientific, religious and political movements such as the Copernican model, the Sack of Rome, and the Protestant Reformation's increasing challenge to the power of the Catholic church. In Astronomy, heliocentrism is the theory that the Sun is at the center of the Solar System. The Sack of Rome on 6 May 1527, carried out by the mutinous troops of Charles V Holy Roman Emperor, marked a crucial imperial victory in The Protestant Reformation was a reform movement in Europe that began in 1517 though its roots lie further back in time Because of this, the style's elongated forms and distorted forms have been often been interpreted as a reaction to the idealized compositions prevalent in High Renaissance art. [1]
The early Mannerists are usually set in stark contrast to High Renaissance conventions; the immediacy and balance achieved by Raphael's School of Athens, no longer seemed relevant or appropriate. Mannerism developed among the pupils of two masters of the classical approach, with Raphael's assistant Giulio Romano and among the students of Andrea del Sarto, whose studio produced the quintessentially Mannerist painters Pontormo and Rosso Fiorentino. Raphael Sanzio, usually known by his first name alone (in Italian Raffaello) (April 6 or March 28 1483 – April 6 1520 was an Italian painter and Giulio Romano (c 1499 &ndash November 1, 1546) was an Italian painter and architect. Andrea del Sarto (1486 &ndash 1531 was an Italian painter from Florence, whose career flourished during the High Renaissance and early- Mannerism Jacopo Carucci ( May 24, 1494 — January 2, 1557) usually known as Jacopo da Pontormo, Jacopo Pontormo or simply Giovanni Battista di Jacopo (1494-1540 known as Rosso Fiorentino (meaning "the Red Florentine" in Italian or Il Rosso, was an Italian Michelangelo displayed tendencies towards Mannerism, notably in his vestibule to the Laurentian Library and the figures on his Medici tombs. Michelangelo di Lodovico Buonarroti Simoni Two biographies were published of him during his lifetime One of them by Giorgio Vasari, proposed that he was the pinnacle of all A vestibule (ˈvɛstɨbjuːl is a lobby, entrance Hall, or passage between the entrance and the interior of a Building. The Laurentian Library ( Biblioteca Medicea Laurenziana) in Florence, Italy is famous as a repository of more than 11000 Manuscripts and 4500
Mannerist centers in Italy were Rome, Florence and Mantua. Henry Howard Earl of Surrey KG (1517 &ndash 19 January 1547) was an English aristocrat and one of the founders of English Renaissance Venetian painting, in its separate "school," pursued a separate course, represented in the long career of Titian. Tiziano Vecelli or Tiziano Vecellio (c 1485 &ndash August 27 1576 better known as Titian, was the leading painter of the 16th-century Venetian
In the mid to late 1500s Mannerism flourished at European courts, where it appealed to knowledgeable audiences with its arcane iconographic programs and sense of an artistic "personality". It reflects a growing trend in which a noticeable purpose of art was to inspire awe and devotion, and to entertain and educate.
Giorgio Vasari
Giorgio Vasari's opinions about the "art" of creating art come through in his praise of fellow artists in the great book that lay behind this frontispiece: he believed that excellence in painting demanded refinement, richness of invention (invenzione), expressed through virtuoso technique (maniera), and wit and study that appeared in the finished work, all criteria that emphasized the artist's intellect and the patron's sensibility. Giorgio Vasari ( 30 July 1511 – 27 June 1574) was an Italian painter and Architect, who is today famous The artist was now no longer just a craftsman member of a local Guild of St Luke. Now he took his place at court with scholars, poets, and humanists, in a climate that fostered an appreciation for elegance and complexity. The coat-of-arms of Vasari's Medici patrons appear at the top of his portrait, quite as if they were the artist's own.
The framing of the engraved frontispiece to Mannerist artist Giorgio Vasari's Lives of the Artists (illustration, left) would be called "Jacobean" in an English-speaking context. Giorgio Vasari ( 30 July 1511 – 27 June 1574) was an Italian painter and Architect, who is today famous The Lives of the Most Excellent Painters Sculptors and Architects, or Le Vite delle più eccellenti pittori scultori ed architettori as it was originally known In it, Michelangelo's Medici tombs inspire the anti-architectural "architectural" features at the top, the papery pierced frame, the satyr nudes at the base. In the vignette of Florence at the base, papery or vellum-like material is cut and stretched and scrolled into a cartouche (cartoccia). In Egyptian hieroglyphs a cartouche is an oblong enclosure with a horizontal line at one end indicating that the text enclosed is a royal name coming into use during The design is self-conscious, overcharged with rich, artificially "natural" detail in physically improbable juxtapositions of jarring scale changes, overwhelming as a mere frame: Mannerist.
Gian Paolo Lomazzo
Another literary source from the period is Gian Paolo Lomazzo, who produced two works—one practical and one metaphysical—that helped define the Mannerist artist's self-conscious relation to his art. Gian Paolo Lomazzo ( April 26, 1538 &ndash February 13, 1600; his first name is sometimes also given as "Giovan" or "Giovanni" His Trattato dell'arte della pittura, scoltura et architettura (Milan, 1584) is in part a guide to contemporary concepts of decorum, which the Renaissance inherited in part from Antiquity but Mannerism elaborated upon. Decorum (from the Latin: "proper fit becoming" was a principle of classical Rhetoric, poetry and theatrical theory Lomazzo's systematic codification of aesthetics, which typifies the more formalized and academic approaches typical of the later 16th century, controlled a consonance between the functions of interiors and the kinds of painted and sculpted decors that would be suitable. Iconography, often convoluted and abstruse, is a more prominent element in the Mannerist styles. His less practical and more metaphysical Idea del tempio della pittura ("The ideal temple of painting", Milan, 1590) offers a description along the lines of the "four temperaments" theory of the human nature and personality, containing the explanations of the role of individuality in judgment and artistic invention.
Some mannerist examples
Jacopo da Pontormo
Jacopo da Pontormo's Joseph in Egypt stood in what would have been considered contradicting colors and disunified time and space in the Renaissance. Jacopo Carucci ( May 24, 1494 — January 2, 1557) usually known as Jacopo da Pontormo, Jacopo Pontormo or simply Neither the clothing, nor the buildings— not even the colors— accurately represented the Bible story of Joseph. Etymology According to the Online Etymology Dictionary, the word bible is from Latin biblia, traced from the same word through Medieval Latin and Late Latin Joseph or Yosef (יוֹסֵ Standard Yosef Tiberian Yôsēp̄, يوسف Yusuf; "He It was wrong, but it stood out as an accurate representation of society's feelings.
Rosso Fiorentino
Rosso Fiorentino, who had been a fellow-pupil of Pontormo in the studio of Andrea del Sarto, brought Florentine mannerism to Fontainebleau in 1530, where he became one of the founders of the French 16th century Mannerism called the "School of Fontainebleau". Giovanni Battista di Jacopo (1494-1540 known as Rosso Fiorentino (meaning "the Red Florentine" in Italian or Il Rosso, was an Italian Andrea del Sarto (1486 &ndash 1531 was an Italian painter from Florence, whose career flourished during the High Renaissance and early- Mannerism Fontainebleau is a commune in the metropolitan area of Paris, France. The Ecole de Fontainebleau refers to two periods of artistic production in France during the late Renaissance centered around the royal Château de Fontainebleau
School of Fontainebleau
The examples of a rich and hectic decorative style at Fontainebleau transferred the Italian style, through the medium of engravings, to Antwerp and thence throughout Northern Europe, from London to Poland, and brought Mannerist design into luxury goods like silver and carved furniture. Engraving is the practice of incising a design onto a hard usually flat surface by cutting grooves into it ||-||-||-||} Antwerp ( Dutch:, French: Anvers) is a City and Municipality in Belgium and the capital of the A sense of tense controlled emotion expressed in elaborate symbolism and allegory, and elongated proportions of female beauty are characteristics of his style. An allegory (from αλλος allos "other" and el αγορευειν agoreuein "to speak in public" is a figurative mode of representation
Agnolo Bronzino
Agnolo Bronzino's somewhat icy portraits (illustrated, to the left) put an uncommunicative abyss between sitter and viewer, concentrating on rendering of the precise pattern and sheen of rich textiles. Agnolo di Cosimo ( November 17, 1503 &ndash November 23, 1572) usually known as Il Bronzino, or Agnolo Bronzino (mistaken
Alessandro Allori
Alessandro Allori's (1535 - 1607) Susanna and the Elders (illustrated, right) uses artificial, waxy eroticism and consciously brilliant still life detail, in a crowded contorted composition. Alessandro di Cristofano di Lorenzo del Bronzino Allori ( May 3, 1535 - September 22, 1607) was an Italian portrait painter
Jacopo Tintoretto
Jacopo Tintoretto's Last Supper (left) epitomizes Mannerism by taking Jesus and the table out of the middle of the room. Tintoretto (real name Jacopo Comin; September 29, 1518 - May 31, 1594) was one of the greatest painters of the Venetian school and Jesus of Nazareth (7–2 BC / BCE —26–36 AD / CE)
He showed all that was happening. In sickly, disorienting colors he painted a scene of confusion that somehow separated the angels from the real world. An angel is a Spiritual Supernatural being found in many Religions Although the nature of angels and the tasks given to them vary from tradition to tradition He had removed the world from God's reach. God is the principal or sole Deity in Religions and other belief systems that worship one deity.
El Greco
El Greco attempted to express the religious tension with exaggerated Mannerism. El Greco' ("The Greek " 1541 &ndash April 7 1614 was a painter, sculptor, and architect of the Spanish Renaissance Zamość is a town in southeastern Poland with 66633 inhabitants (2004 situated in the Lublin Voivodeship (since 1999 Bernardo Morando, also known as Bernardino or Morandi (ca 1540 - 1600 was a Polish - Italian architect El Greco' ("The Greek " 1541 &ndash April 7 1614 was a painter, sculptor, and architect of the Spanish Renaissance This exaggeration would serve to cross over the Mannerist line and be applied to Classicism. After the realistic depiction of the human form and the mastery of perspective achieved in high Renaissance Classicism, some artists started to deliberately distort proportions in disjointed, irrational space for emotional and artistic effect. There are aspects of Mannerism in El Greco (illustration, right), such as the jarring "acid" color sense, elongated and tortured anatomy, irrational perspective and light of his crowded composition, and obscure and troubling iconography.
Benvenuto Cellini
Benvenuto Cellini created a salt cellar of gold and ebony in 1540 featuring Poseidon and Amphitrite (earth and water) in elongated form and uncomfortable positions. Benvenuto Cellini In Greek mythology, Poseidon ( Greek:; Latin: Neptūnus) was the god of the Sea and as "Earth-Shaker" It is considered a masterpiece of Mannerist sculpture.
Mannerist architecture
An example of mannerist architecture is the Villa Farnese at Caprarola in the rugged country side outside of Rome. The Villa Farnese, also known as Palazzo Farnese or Villa Caprarola, is a Mansion in the town of Caprarola in the Province of Viterbo Rome ( Roma ˈroma Roma is the capital city of Italy and Lazio, and is Italy's largest and most populous city with more than 2 The proliferation of engravers during the 16th century spread Mannerist styles more quickly than any previous styles. A center of Mannerist design was Antwerp during its 16th century boom. ||-||-||-||} Antwerp ( Dutch:, French: Anvers) is a City and Municipality in Belgium and the capital of the Through Antwerp, Renaissance and Mannerist styles were widely introduced in England, Germany, and northern and eastern Europe in general. Renaissance architecture is the architecture of the period between the early 15th and early 17th centuries in different regions of Europe in which there was a Dense with ornament of "Roman" detailing, the display doorway at Colditz Castle (illustration, left) exemplifies this northern style, characteristically applied as an isolated "set piece" against unpretentious vernacular walling.
Mannerism in literature and music
In English literature, Mannerism is commonly identified with the qualities of the "Metaphysical" poets of whom the most famous is John Donne. The metaphysical poets were a loose group of British lyric poets of the 17th century who shared an interest in metaphysical concerns and a common way of investigating them Ars subtilior (more subtle art is a Musical style characterized by rhythmic and notational complexity centered around Paris, Avignon John Donne (pronounced like done, dʌn 1572 – 31 March 1631 was a Jacobean poet preacher and a major representative of the Metaphysical poets The witty sally of a Baroque writer, John Dryden, against the verse of Donne in the previous generation, affords a concise contrast between Baroque and Mannerist aims in the arts:
- "He affects the metaphysics, not only in his satires, but in his amorous verses, where nature only should reign; and perplexes the minds of the fair sex with nice[7] speculations of philosophy when he should engage their hearts and entertain them with the softnesses of love" (italics added). John Dryden (– was an influential English poet Literary critic, Translator and playwright who dominated the literary life of Restoration England
The word Mannerism has also been used to describe the style of highly florid and contrapuntally complex polyphonic music made in France in the late 14th century. In Music, counterpoint is the relationship between two or more voices that are independent in contour and Rhythm, and interdependent in Harmony In Music, polyphony is a texture consisting of two or more independent Melodic voices, as opposed to music with just one voice ( Monophony This period is now usually referred to as the ars subtilior. Ars subtilior (more subtle art is a Musical style characterized by rhythmic and notational complexity centered around Paris, Avignon
Notes
- ^ a b Manfred Wundram, "Mannerism," Grove Art Online. Oxford University Press, [accessed 23 April 2008].
- ^ Charles Burroughs, “The Altar and the City: Botticelli’s Mannerism and the Reform of Sacred Art,” Artibus et Historiae 18:36 (1997): 11
- ^ Friedländer, 1965.
- ^ Shearman, 1967
- ^ Friedländer, 1957.
- ^ John Summerson, Architecture in Britain, New York, 1983, pp. 157-72.
- ^ 'Nice' in the sense of 'finely reasoned. '
References
- Friedländer, Walter. Walter Ferdinand Friedlaender ( March 10, 1873 - September 8, 1966) was a German Art historian. Mannerism and Anti-Mannerism in Italian Painting, (originally in German, first edition in English, 1957, Columbia) 1965, Schocken, New York, LOC 578295
- John Shearman, 1967. Mannerism A classic summation.
Further reading
- Freedburg, Sidney J. . Painting in Italy, 1500-1600, 3rd edn. 1993, Yale, ISBN 0300055870
- Smyth, Craig Hugh. Mannerism and Maniera, 1992, IRSA, Vienna, ISBN 3900731330
- Franzsepp Würtenberger, 1963. Mannerism: The European Style of the Sixteenth Century (Originally published in German, 1962).
- Giuliano Briganti, 1962. Italian Mannerism (Originally published in Italian, 1961).
- Wylie Sypher, Four Stages of Renaissance Style: Transformations in Art and Literature, 1400-1700, 1955. A classic analysis of Renaissance, Mannerism, Baroque, and Late Baroque.
- Helen Gardner, Metaphysical Poets, Selected and Edited. Introduction.
- Liana de Girolami Cheney, ed, Readings in Italian Mannerism, with foreword by Craig Hugh Smyth (New York: Peter Lang, 1997,2004)
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