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.
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".
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.
"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.
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- Origin and Development
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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. 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'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...
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. 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
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
- Caulfield Racecourse
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.
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.
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.
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.