Yahoo Web Search

  1. Mannerism - Wikipedia

    en.wikipedia.org/wiki/Mannerism

    Mannerism, also known as Late Renaissance, is a style in European art that emerged in the later years of the Italian High Renaissance around 1520, spreading by about 1530 and lasting until about the end of the 16th century in Italy, when the Baroque style largely replaced it. Northern Mannerism continued into the early 17th century.

  2. Mannerism is a style of art that was created in the Late Renaissance period, from about 1520 until about 1600. The Mannerist style of painting or sculpture often shows figures that are "elongated" (made longer) and "distorted" (made into strange shapes"). The aim of the Mannerist artist was usually to make art that looked "elegant".

  3. Northern Mannerism - Wikipedia

    en.wikipedia.org/wiki/Northern_Mannerism

    From Wikipedia, the free encyclopedia Bartholomeus Spranger, Hercules, Deianira and Nessus, 1580–85 Northern Mannerism is the form of Mannerism found in the visual arts north of the Alps in the 16th and early 17th centuries.

  4. Talk:Mannerism - Wikipedia

    en.wikipedia.org/wiki/Talk:Mannerism

    "Mannerism" was initially a contentious stylistic label among art historians when it resurfaced before World War I, first used by German art historians like Heinrich Wölfflin The only self-applied labels I can readily think of is Dada, Surrealism, Futurism, Impressonism and Decadent as in decadent art.

  5. People also ask

    What is Renaissance Mannerism?

    What is antwerp mannerism?

    Where did Mannerism originate?

    What is the role model of Mannerism?

    • Nomenclature
    • Origin and Development
    • Spread of Mannerism
    • Sculpture
    • Early Theorists
    • Some Mannerist Artists
    • Mannerist Architecture
    • Mannerism in Literature and Music
    • See Also
    • External Links

    The word man­ner­ism de­rives from the Ital­ian maniera, mean­ing "style" or "man­ner". Like the Eng­lish word "style", maniera can ei­ther in­di­cate a spe­cific type of style (a beau­ti­ful style, an abra­sive style) or in­di­cate an ab­solute that needs no qual­i­fi­ca­tion (some­one "has style"). In the sec­ond edi­tion of his Lives of the Most Ex­cel­lent Painters, Sculp­tors, and Ar­chi­tects (1568), Gior­gio Vasari used maniera in three dif­fer­ent con­texts: to dis­cuss an artist's man­ner or method of work­ing; to de­scribe a per­sonal or group style, such as the term maniera greca to refer to the Byzan­tine style or sim­ply to the maniera of Michelan­gelo; and to af­firm a pos­i­tive judg­ment of artis­tic quality. Vasari was also a Man­ner­ist artist, and he de­scribed the pe­riod in which he worked as "la maniera mod­erna", or the "mod­ern style". James V. Mirollo de­scribes how "bella maniera" poets at­tempted to sur­pass in vir­tu­os­ity the son­nets of Petrarch.This n...

    By the end of the High Re­nais­sance, young artists ex­pe­ri­enced a crisis: it seemed that every­thing that could be achieved was al­ready achieved. No more dif­fi­cul­ties, tech­ni­cal or oth­er­wise, re­mained to be solved. The de­tailed knowl­edge of anatomy, light, phys­iog­nomy and the way in which hu­mans reg­is­ter emo­tion in ex­pres­sion and ges­ture, the in­no­v­a­tive use of the human form in fig­u­ra­tive com­po­si­tion, the use of the sub­tle gra­da­tion of tone, all had reached near per­fec­tion. The young artists needed to find a new goal, and they sought new approaches.[citation needed] At this point Man­ner­ism started to emerge. The new style de­vel­oped be­tween 1510 and 1520 ei­ther in Florence,or in Rome, or in both cities simultaneously.

    The cities Rome, Flo­rence, and Man­tua were Man­ner­ist cen­ters in Italy. Venet­ian paint­ing pur­sued a dif­fer­ent course, rep­re­sented by Tit­ian in his long ca­reer. A num­ber of the ear­li­est Man­ner­ist artists who had been work­ing in Rome dur­ing the 1520s fled the city after the Sack of Rome in 1527. As they spread out across the con­ti­nent in search of em­ploy­ment, their style was dis­sem­i­nated through­out Italy and North­ern Europe. The re­sult was the first in­ter­na­tional artis­tic style since the Gothic. Other parts of North­ern Eu­rope did not have the ad­van­tage of such di­rect con­tact with Ital­ian artists, but the Man­ner­ist style made its pres­ence felt through prints and il­lus­trated books. Eu­ro­pean rulers, among oth­ers, pur­chased Ital­ian works, while north­ern Eu­ro­pean artists con­tin­ued to travel to Italy, help­ing to spread the Man­ner­ist style. In­di­vid­ual Ital­ian artists work­ing in the North gave birth to a move­ment known as the No...

    As in paint­ing, early Ital­ian Man­ner­ist sculp­ture was very largely an at­tempt to find an orig­i­nal style that would top the achieve­ment of the High Re­nais­sance, which in sculp­ture es­sen­tially meant Michelan­gelo, and much of the strug­gle to achieve this was played out in com­mis­sions to fill other places in the Pi­azza della Sig­no­ria in Flo­rence, next to Michelan­gelo's David. Bac­cio Bandinelli took over the pro­ject of Her­cules and Cacus from the mas­ter him­self, but it was lit­tle more pop­u­lar then than it is now, and ma­li­ciously com­pared by Ben­venuto Cellini to "a sack of mel­ons", though it had a long-last­ing ef­fect in ap­par­ently in­tro­duc­ing re­lief pan­els on the pedestal of stat­ues. Like other works of his and other Man­ner­ists it re­moves far more of the orig­i­nal block than Michelan­gelo would have done. Cellini's bronze Perseus with the head of Medusa is cer­tainly a mas­ter­piece, de­signed with eight an­gles of view, an­other Man­ner­i...

    Giorgio Vasari

    Gior­gio Vasari's opin­ions about the art of paint­ing emerge in the praise he be­stows on fel­low artists in his multi-vol­ume Lives of the Artists: 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. The artist was now no longer just a tr...

    Gian Paolo Lomazzo

    An­other lit­er­ary fig­ure 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. 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. Lo­mazzo's sys­tem­atic cod­i­fi­ca­tion of...

    Jacopo da Pontormo

    Ja­copo da Pon­tormo's Joseph in Egyptfea­tures what would in the Re­nais­sance have been con­sid­ered in­con­gru­ous col­ors and an in­co­her­ent han­dling of time and space.

    Rosso Fiorentino and the School of Fontainebleau

    Rosso Fiorentino, who had been a fel­low pupil of Pon­tormo in the stu­dio of An­drea del Sarto, in 1530 brought Flo­ren­tine man­ner­ism to Fontainebleau, where he be­came one of the founders of French 16th-cen­tury Man­ner­ism, pop­u­larly known as the "School of Fontainebleau". The ex­am­ples of a rich and hec­tic dec­o­ra­tive style at Fontainebleau fur­ther dis­sem­i­nated the Ital­ian style through the medium of en­grav­ings, to Antwerp and from there through­out North­ern Eu­rope from...

    Agnolo Bronzino

    Man­ner­ist por­traits by Ag­nolo Bronzinoare dis­tin­guished by a serene el­e­gance and metic­u­lous at­ten­tion to de­tail. As a re­sult, Bronzino's sit­ters have been said to pro­ject an aloof­ness and marked emo­tional dis­tance from the viewer. There is also a vir­tu­osic con­cen­tra­tion on cap­tur­ing the pre­cise pat­tern and sheen of rich tex­tiles.

    Man­ner­ist ar­chi­tec­ture was char­ac­ter­ized by vi­sual trick­ery and un­ex­pected el­e­ments that chal­lenged the re­nais­sance norms. Flem­ish artists, many of whom had trav­eled to Italy and were in­flu­enced by Man­ner­ist de­vel­op­ments there, were re­spon­si­ble for the spread of Man­ner­ist trends into Eu­rope north of the Alps, in­clud­ing into the realm of ar­chi­tec­ture. Dur­ing the pe­riod, ar­chi­tects ex­per­i­mented with using ar­chi­tec­tural forms to em­pha­size solid and spa­tial re­la­tion­ships. The Re­nais­sance ideal of har­mony gave way to freer and more imag­i­na­tive rhythms. The best known ar­chi­tect as­so­ci­ated with the Man­ner­ist style, and a pi­o­neer at the Lau­rent­ian Li­brary, was Michelan­gelo (1475–1564). He is cred­ited with in­vent­ing the giant order, a large pi­laster that stretches from the bot­tom to the top of a façade. He used this in his de­sign for the Campi­doglioin Rome. Prior to the 20th cen­tury, the term Man­ner­ism had neg­...

    In Eng­lish lit­er­a­ture, Man­ner­ism is com­monly iden­ti­fied with the qual­i­ties of the "Meta­phys­i­cal" poets of whom the most fa­mous is John Donne.[citation needed] 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: The rich mu­si­cal pos­si­bil­i­ties in the po­etry of the late 16th and early 17th cen­turies pro­vided an at­trac­tive basis for the madri­gal, which quickly rose to promi­nence as the pre-em­i­nent mu­si­cal form in Ital­ian mu­si­cal cul­ture, as dis­cussed by Tim Carter: 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. This pe­riod is now usu­ally re­ferred to as the ars sub­til­ior.

    "Mannerism: Bronzino (1503–1572) and his Contemporaries", on the Metropolitan Museum of Art's website

  6. Mannerism Stakes - Wikipedia

    en.wikipedia.org/wiki/Mannerism_Stakes

    The Mannerism Stakes is a Melbourne Racing Club Group 3 Thoroughbred horse race for mares aged four years old and older, held under Set Weights conditions with penalties, over a distance of 1400 metres at Caulfield Racecourse in Melbourne, Australia in late February. Prizemoney is A$ 160,000.

    • 1,400 metres
    • Set weights with penalties
  7. Antwerp Mannerism - Wikipedia

    en.wikipedia.org/wiki/Antwerp_Mannerism

    From Wikipedia, the free encyclopedia The Nativity by Jan de Beer, 1515-1525. Antwerp Mannerism is the name given to the style of a group of largely anonymous painters active in the Southern Netherlands and principally in Antwerp in the beginning of the 16th century.

  8. Caroline era - Wikipedia

    en.wikipedia.org/wiki/Artisan_Mannerism

    From Wikipedia, the free encyclopedia (Redirected from Artisan Mannerism) The Caroline era refers to the period in English and Scottish history named for the 24-year reign of Charles I (1625–1649). The term is derived from Carolus, the Latin for Charles.

  9. Mannerism adalah gaya seni rupa, terutama seni lukis, yang berkembang setelah peristiwa jatuhnya kota Roma pada tahun 1527 sesaat setelah munculnya masa High Renaissance. Mannerisme memperlihatkan sisi individual seniman, di samping juga pengaruh seni klasik Roma dan.

  10. Manierism – Wikipedia

    sv.wikipedia.org/wiki/Manierism

    Manierism är en stildefinition som härrör från italienskans maniera, som ursprungligen betyder "stilfullhet" och betecknar grace, jämvikt och harmoni.Vanligen förknippas dock ordet "manierism" med konst och konstnärer som öppet visade överdriven skicklighet, virtuositet och nyckfullhet.

  11. People also search for