Which of the Following Best Describes the Mannerist Style in Art

Mannerism

Mannerist artists began to reject the harmony and platonic proportions of the Renaissance in favor of irrational settings, artificial colors, unclear subject matters, and elongated forms.

Learning Objectives

Describe the Mannerist mode, how information technology differs from the Renaissance, and reasons why it emerged.

Key Takeaways

Key Points

• Mannerism came afterward the High Renaissance and before the Baroque .
• The artists who came a generation subsequently Raphael and Michelangelo had a dilemma. They could not surpass the great works that had already been created by Leonardo da Vinci, Raphael, and Michelangelo. This is when nosotros start to see Mannerism emerge.
• Jacopo da Pontormo (1494–1557) represents the shift from the Renaissance to the Mannerist style .

Primal Terms

• Mannerism: Style of fine art in Europe from c. 1520–1600. Mannerism came later on the High Renaissance and before the Baroque. Not every artist painting during this period is considered a Mannerist creative person.

Mannerism is the name given to a style of art in Europe from c. 1520–1600. Mannerism came afterwards the Loftier Renaissance and before the Baroque. Not every artist painting during this catamenia is considered a Mannerist artist, however, and there is much debate among scholars over whether Mannerism should be considered a separate movement from the High Renaissance, or a stylistic stage of the High Renaissance. Mannerism will be treated as a separate fine art movement here as there are many differences between the High Renaissance and the Mannerist styles.

Fashion

What makes a work of fine art Mannerist? Start we must understand the ethics and goals of the Renaissance. During the Renaissance artists were engaging with classical antiquity in a new way. In addition, they developed theories on perspective , and in all means strived to create works of fine art that were perfect, harmonious, and showed platonic depictions of the natural world. Leonardo da Vinci, Raphael, and Michelangelo are considered the artists who reached the greatest achievements in art during the Renaissance.

The Renaissance stressed harmony and dazzler and no one could create more beautiful works than the great three artists listed above. The artists who came a generation after had a dilemma; they could not surpass the great works that had already been created past da Vinci, Raphael, and Michelangelo. This is when we outset to run into Mannerism emerge. Younger artists trying to do something new and different began to reject harmony and ideal proportions in favor of irrational settings, bogus colors, unclear subject matters, and elongated forms .

Jacopo da Pontormo

Jacopo da Pontormo (1494–1557) represents the shift from the Renaissance to the Mannerist style. Accept for case his Degradation from the Cross, an altarpiece that was painted for a chapel in the Church building of Santa Felicita, Florence. The figures of Mary and Jesus announced to exist a direct reference to Michelangelo's Pieta. Although the work is chosen a "Deposition," there is no cross. Scholars besides refer to this work equally the "Entombment" merely there is no tomb. This lack of clarity on field of study matter is a hallmark of Mannerist painting. In improver, the setting is irrational, almost as if it is not in this globe, and the colors are far from naturalistic. This work could not have been produced past a Renaissance artist. The Mannerist movement stresses different goals and this work of art by Pontormo demonstrates this new, and different style.

Pontormo, Deposition from the Cross, 1525-1528, Church of Santa Felicita, Florence: This work of art by Pontormo demonstrates the hallmarks of the Mannerist style: unclear subject area matter, irrational setting, and bogus colors.

Mannerist Painting

Mannerism emerged from the afterwards years of the Italian High Renaissance, and is notable for its sophisticated and artificial qualities.

Learning Objectives

Contrast the painting of Loftier Mannerism with its earlier, anti-classical phase

Fundamental Takeaways

Key Points

• Mannerist painting encompasses a variety of approaches influenced past, and reacting to, the harmonious ideals and restrained naturalism associated with Loftier Renaissance artists. Mannerism is notable for its intellectual composure too as its artificial (as opposed to naturalistic) qualities.
• Mannerism developed in both Florence and Rome , from around 1520 until nigh 1580. The early Mannerist painters are notable for elongated forms , precariously balanced poses, a collapsed perspective , irrational settings, and theatrical lighting.
• The second period of Mannerist painting, called "Maniera Greca," is differentiated from the earlier "anti-classical" phase. Loftier Mannerists stressed intellectual conceits and artistic virtuosity, features that have led later critics to accuse them of working in an unnatural and affected "style."

Key Terms

• Sack of Rome: A military issue carried out on May vi, 1527 by the mutinous troops of Charles V, Holy Roman Emperor in Rome.
• Mannerism: A style of art developed at the end of the High Renaissance, characterized by the deliberate distortion and exaggeration of perspective, especially the elongation of figures.

Mannerism

Mannerism is a period of European art that emerged from the afterwards years of the Italian Loftier Renaissance. It began around 1520 and lasted until about 1580 in Italy, when a more Baroque style began to be favored. Stylistically, Mannerist painting encompasses a variety of approaches influenced by, and reacting to, the harmonious ideals and restrained naturalism associated with artists such every bit Leonardo da Vinci, Raphael, and early Michelangelo. Mannerism is notable for its intellectual composure as well as its bogus (as opposed to naturalistic) qualities. There is an existing fence betwixt scholars equally to whether Mannerism was its own, independent art motility, or if it should be considered equally part of the Loftier Renaissance.

Mannerist Painting

Mannerism adult in both Florence and Rome. The early Mannerist painters in Florence—particularly Jacopo da Pontormo and Rosso Fiorentino, both students of Andrea del Sarto—are notable for using elongated forms, precariously counterbalanced poses, a collapsed perspective, irrational settings, and theatrical lighting. Parmigianino (a educatee of Correggio) and Giulio Romano (Raphael'southward head assistant) were moving in similarly stylized aesthetic directions in Rome. These artists had matured under the influence of the High Renaissance, and their way has been characterized as a reaction or exaggerated extension of information technology.

Madonna with the Long Cervix: In Parmigianino's Madonna with the Long Cervix (1534–forty), Mannerism makes itself known by elongated proportions, highly stylized poses, and lack of clear perspective.

In other words, instead of studying nature direct, younger artists began studying Hellenistic sculptures and paintings of masters by. Therefore, this style is often identified equally "anti-classical," yet at the time it was considered a natural progression from the High Renaissance. The earliest experimental phase of Mannerism, known for its "anti-classical" forms, lasted until nigh 1540 or 1550. This period has been described as both a natural extension of the art of Andrea del Sarto, Michelangelo, and Raphael, besides as a decline of those same artists' classicizing achievements.

In by analyses, it has been noted that Mannerism arose in the early 16th century alongside a number of other social, scientific, religious and political movements such as the Copernican model, the Sack of Rome , and the Protestant Reformation 'due south increasing challenge to the ability of the Catholic Church. Considering of this, the style's elongated forms and distorted forms were one time interpreted as a reaction to the idealized compositions prevalent in High Renaissance art.

Jacopo da Pontormo, Entombment, 1528, Santa Felicita, Florence: This work past Pontormo exemplifies early Mannerist paintings—the setting is irrational, the human forms are elongated and balanced in twisted poses, and the coloring of the piece of work is artificial, as opposed to naturalistic.

This explanation for the radical stylistic shift in 1520 has fallen out of scholarly favor, though the early Mannerists are still set in stark contrast to Loftier Renaissance conventions; the immediacy and balance achieved by Raphael'southward School of Athens no longer seemed interesting to immature artists. Indeed, Michelangelo himself displayed tendencies towards Mannerism, notably in his entrance hall to the Laurentian Library, in the figures on his Medici tombs, and above all the Sistine Chapel .

The Libyan Sibyl from Michelangelo'due south Sistine Chapel ceiling: Michelangelo himself displayed tendencies towards Mannerism, notably in the Sistine Chapel.

Maniera Greca

The second period of Mannerist painting, called "Maniera Greca," or High Mannerism, is commonly differentiated from the earlier, so-called "anti-classical" stage. Influenced by earlier Byzantine art, Loftier Mannerists stressed intellectual conceits and creative virtuosity, features that accept led later critics to accuse them of working in an unnatural and affected "manner" (maniera). Maniera artists held their elderberry contemporary Michelangelo as their prime number case; theirs was an art imitating art, rather than an art imitating nature. Maniera art combines exaggerated elegance with exquisite attention to surface and detail: porcelain-skinned figures recline in an fifty-fifty, tempered light, regarding the viewer with a cool glance, if at all. The Maniera subject rarely displays an backlog of emotion, and for this reason is frequently interpreted as "cold" or "aloof. "

A number of the primeval Mannerist artists who had been working in Rome during the 1520s fled the metropolis later the Sack of Rome in 1527. As they spread out across the continent in search of employment, their style was distributed throughout Italy and Europe. The result was the commencement international artistic style since the Gothic manner (including French, English language, and Dutch Mannerism styles). The style waned in Italy afterward 1580, as a new generation of artists, including the Carracci brothers, Caravaggio and Cigoli, reemphasized naturalism. Walter Friedlaender identified this period as "anti-mannerism," just as the early Mannerists were "anti-classical" in their reaction to the High Renaissance.

Joachim Wtewael's Perseus and Andromeda, 1616: An example of 17th century Dutch Mannerism.

Mannerist Sculpture

Mannerist sculpture, like Mannerist painting, was characterized by elongated forms, spiral angles, twisting poses, and aloof subject gazes.

Learning Objectives

Ascertain characteristics of Mannerist sculpture

Central Takeaways

Key Points

• Figura serpentinata (Italian: serpentine effigy) is a style in painting and sculpture that is typical of Mannerism . It is similar, only not identical, to contrapposto , and oftentimes features figures in spiral poses.
• The Mannerist style of sculpture began to create a class in which figures showed physical power, passion, tension, and semantic perfection. Movements were non without motivation, nor even just done with a will, only were shown in a pure form.
• Mannerist sculpture was an attempt to find an original style that would surpass the achievements of the High Renaissance , which was equated with Michelangelo. Much of the struggle to surpass his success centered on commissions to fill other places in the Piazza della Signoria in Florence, side by side to Michelangelo'due south David.

Cardinal Terms

• Figura Serpentinata: Figura Serpentinata (Italian: serpentine figure) is a way in painting and sculpture that is typical of Mannerism. It is like, only non identical, to contrapposto, and features figures often in a spiral pose.
• Mannerism: A fashion of art developed at the stop of the High Renaissance, characterized by the deliberate distortion and exaggeration of perspective, especially the elongation of figures.
• piazza: A public square, especially in an Italian city.

While sculpture of the High Renaissance is characterized by forms with perfect proportions and restrained beauty, equally all-time characterized past Michelangelo's David, Mannerist sculpture, like Mannerist painting, was characterized by elongated forms, spiral angels, twisted poses, and aristocratic subject gazes. Additionally, Mannerist sculptors worked in precious metals much more oftentimes than sculptors of the Loftier Renaissance.

Figura serpentinata (Italian: serpentine figure) is a style in painting and sculpture that is typical of Mannerism. It is like, but not identical, to contrapposto, and frequently features figures in spiral poses. Early on examples can be seen in the work of Leonardo da Vinci, Raphael, and Michelangelo. In defining figura serpentinata, Emil Maurer writes of the painter and theorist Giovanni Paolo Lomazzo: "the recommended ideal form unites, after Lomazzo, 3 qualities: the pyramid , the 'serpentinata' movement and a sure numerical proportion, all three united to form one whole. At the aforementioned time, precedence is given to the 'moto', that is, to the meandering move, which should make the pyramid, in exact proportion, into the geometrical form of a cone."

With the loosening of the norms of the High Renaissance and the development of the "Serpentinata" style, the Mannerist manner's structures and rules began to be systematized. The Mannerist way of sculpture began to create a form in which figures showed physical power, passion, tension, and semantic perfection. Mannerist figural sculpture was marked by contorted, twisting poses, every bit best evidenced by Giambologna's Rape of the Sabine Women.

Rape of the Sabine Women, Giambologna, 1583, Florence: In this 13′ 6″ loftier marble piece, Giambologna demonstrates the use of the figura serpentinata.

As in painting, early Italian Mannerist sculpture was largely an endeavour to find an original style that would expand and surpass the achievements of the High Renaissance. For contemporaries in sculpture, the High Renaissance was equated with Michelangelo, and much of the struggle to surpass his success was played out in commissions to fill other places in the Piazza della Signoria in Florence, adjacent to Michelangelo's David.

For case, Baccio Bandinelli took over the projection of Hercules and Cacus from Michelangelo, although his piece of work was maliciously compared by Benvenuto Cellini to "a sack of melons." Like other works of Mannerists, Bandinelli removes far more of the original block of stone than Michelangelo would have washed. Outside of natural stone sculptures, Cellini'southward bronze Perseus with the head of Medusa is a Mannerist masterpiece, designed with eight angles of view.

Perseus with the Head of Medusa, Benvenuto Celling, 1545–1554:

Minor bronze figures for collector'due south cabinets, often mythological subjects with nudes, were characteristic of Mannerist sculpture. They were a pop Renaissance form at which Giambologna excelled in the later office of the century. He and his followers devised elegant, elongated examples of the figura serpentinata, oft of two intertwined figures, that were interesting from all angles and joined the Piazza della Signora collection.

Hercules Beating Nessus by Giambologna, 1599, Florence:

Mannerist Architecture

During the Mannerist flow, architects experimented with using architectural forms to emphasize solid and spatial relationships.
They did so by deliberately playing with the symmetry, order, and harmony typically constitute in Renaissance architecture.

Learning Objectives

Relate Mannerist architecture to the Early on Renaissance manner that came before

Fundamental Takeaways

Key Points

• Stylistically, Mannerist architecture was marked by widely diverging tendencies from Renaissance and Medieval styles that somewhen led to the Baroque manner, in which the same architectural vocabulary was used for very unlike rhetoric.
• Michelangelo (1475–1564) is the best known artist associated with Mannerism .

Key Terms

• Mannerist compages: During the Mannerist 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.

During the High Renaissance , architectural concepts derived from classical antiquity were adult and used with greater surety. The nigh representative builder of this period is Bramante (1444–1514), who expanded the applicability of classical compages to contemporary buildings in a way that would dominate Italian architecture in the 16th century. Hallmarks of High Renaissance architecture are symmetry , proportion, order, harmony, and deliberate references to the buildings of the classical past.

During the Mannerist period architects experimented with using architectural forms to emphasize solid and spatial relationships. They did and then by deliberately playing with the symmetry, order, and harmony typically found in Renaissance compages. Equally a effect, Mannerist compages appears playful, almost equally if the architects are deliberately playing with expectations put forth by Renaissance architecture.

In Mannerist architecture, the Renaissance platonic of harmony gave way to freer and more imaginative rhythms. The all-time known creative person associated with the Mannerist mode is Michelangelo (1475–1564). With his design for the entrance hall of the Laurentian Library, there are ambiguities of how to read the space , which effect from Michelangelo's playfulness with the compages itself. Columns lean dorsum instead of forrard, and the corners come out toward you lot instead of recessing. Michelangelo was aware of the ethics of Renaissance compages simply he is deliberately playing with those ethics and creating something new.

Michelangelo, Vestibule of the Laurentian Library, Florence: With his blueprint, Michelangelo played with the classical proportions and harmony of Renaissance architecture to create something new.

Stylistically, Mannerist architecture was marked by widely diverging tendencies from Renaissance and Medieval styles that somewhen led to the Baroque style, in which the same architectural vocabulary was used for very different rhetoric.

Baldassare Peruzzi (1481–1536) was an architect working in Rome whose work bridged the Loftier Renaissance and Mannerism. His Villa Farnesina of 1509 is a very regular monumental cube of 2 equal stories, with the trophy articulated past orders of pilasters .

Villa Farnesina, Rome, by Peruzzi, 1506–1510.

Peruzzi'southward nearly famous work is the Palazzo Massimo alle Colonne in Rome. The unusual features of this building are that its façade curves gently to follow a curving street. Information technology has, in its ground floor, a nighttime central portico running parallel to the street, but as a semi-enclosed space, rather than an open loggia . In a higher place this, three undifferentiated floors rise, the upper two with identical pocket-sized horizontal windows in thin apartment frames that contrast strangely with the deep porch, which has served, from the time of its construction, equally a refuge to the city's poor. All of these architectural features are unexpected and disrupt the ideas of harmonious proportions, making it a Mannerist edifice.

Palazzo Massimo alle Colonne, Rome, by Peruzzi

Giulio Romano (1499–1546) was a pupil of Raphael, profitable him on various works for the Vatican. Romano was also a highly inventive designer, working for Federico II Gonzaga at Mantua on the Palazzo del Te (1524–1534), a project that combined his skills as architect, sculptor, and painter. In this work, which incorporated garden grottoes and all-encompassing frescoes , he uses illusionistic furnishings, surprising combinations of architectural form and texture , and features that seem somewhat asymmetric or out of alignment, making it very much a Mannerist structure.

Palazzo del Te, Manuta, by Romano, 1524–1534.: Romano's Palazzo del Te incorporates mixture of architectural forms and textures.

Mannerism and the Counter-Reformation

Mannerism concerned many Catholic leaders in the wake of the Reformation, equally they were seen as lacking pious appeal.

Learning Objectives

Distinguish the artistic ideal of the Counter-Reformation from Mannerism and the fine art of the Reformation in Northern Europe

Cardinal Takeaways

Central Points

• Pressure to restrain religious imagery affected art from the 1530s and influenced several decrees from the final session of the Council of Trent in 1563. These decrees included curt passages on religious images that had significant touch on on the development of Catholic art during the Counter- Reformation .
• The Counter-Reformation Catholic Church building promoted art with "sacred" or religious content. In other words, art was to be strictly religious, created for the purpose of glorifying God and Catholic traditions.

Central Terms

• refectory: A dining-hall especially in an institution such as a college or monastery.
• Counter-Reformation: The period of Catholic revival kickoff with the Quango of Trent (1545–1563) and ending at the close of the Xxx Years' War (1648); sometimes considered a response to the Protestant Reformation.

Italian Painting and Mannerism

Italian Renaissance painting after 1520 developed certain characteristics that are considered Mannerist , such every bit elongated forms and irrational settings. Mannerism, equally well as works from the Loftier Renaissance , concerned many Cosmic leaders in the wake of the Reformation, as they were seen as lacking pious appeal. Furthermore, a great divergence had arisen between the Catholic Church and Protestant reformers of Northern Europe regarding the content and style of art work.

Church pressure to restrain religious imagery affected art from the 1530s and influenced several decrees from the final session of the Council of Trent in 1563. These decrees included short passages concerning religious images that had significant impact on the evolution of Catholic fine art during the Counter-Reformation. The Church felt that religious art in Catholic countries (particularly Italian republic) had lost its focus on religious subject matter. It focused on decorative qualities instead, with heavy influences from classical , pagan art, leading to a church decree that "art was to be direct and compelling in its narrative presentation, that it was to provide an authentic presentation of the biblical narrative or saint'south life, rather than calculation incidental and imaginary moments, and that it was to encourage piety" (Paoletti and Radke, Fine art in Renaissance Italy). The reforms that resulted from this council are what gear up the ground for Counter-Reformation fine art.

The Counter-Reformation Movement

While the Protestants largely removed public art from faith and moved towards a more "secular" style of art, embracing the concept of glorifying God through depictions of nature, the Counter-Reformation Catholic Church building promoted art with "sacred" or religious content. In other words, art was to be strictly religious, created for the purpose of glorifying God and Catholic traditions.

To that stop, The Last Judgment, a fresco on the chantry wall of the Sistine Chapel by Michelangelo (1534–41), came under attack for its classical imagery and the large quantity of nudes, some of which were interpreted at the time every bit being in compromising poses. The Last Judgment was an object of dispute betwixt critics within the Catholic Counter-Reformation and those who appreciated the genius of the creative person and the Mannerist style of the painting. Michelangelo was accused of being insensitive to proper decorum, and of flaunting personal manner over appropriate depictions of content. The fresco was also completed at a time when prints could be fabricated of the piece of work and distributed throughout Northern Europe, the base for criticisms confronting the Catholic Church building. While Michelangelo had been historic during the Renaissance for his classical influence and depictions of awe-inspiring nudes in a variety of poses, here he was beingness criticized for The Last Judgment. Michelango was not doing anything new or different from his previous style, which had been celebrated in the past. This demonstrates how the historical situation had altered and just how threatened the Catholic Church felt at this time in history.

The Last Judgement: The Final Judgment fresco in the Sistine Chapel by Michelangelo (1534–41) came under persistent attack in the Counter-Reformation for nudity (afterward painted over for several centuries), not showing Christ seated or disguised, and including the heathen figure of Charon.

Scipione Pulzone's painting of the Lamentation, commissioned for the Gesu Church in 1589, gives a clear demonstration of what the Council of Trent was striving for in the new manner of religious art. With the focus of the painting giving direct attention to the crucifixion of Christ, it complies with the religious content of the quango and shows the story of the Passion while keeping Christ in the paradigm of the ideal human.

Lamentation: Scipione Pulzone'southward Lamentation, a pious depiction of the Crucifixion, embodied a typical Counter-Reformation work.

On the other paw, in Paolo Veronese's painting The Last Supper (afterward renamed The Banquet in the House of Levi), one can see what the Council regarded equally inappropriate. Veronese was summoned before the Inquisition on the basis that his composition was indecorous for the refectory of a monastery. The painting shows a fantasy version of a Venetian patrician feast, with, in the words of the Inquisition: "buffoons, drunken Germans, dwarfs and other such scurrilities" as well every bit extravagant costumes and settings. Veronese was told that he must change his painting within a three-month period; instead he but inverse the title to The Feast in the House of Levi .

Terminal Supper/House of Levi: Paolo Veronese was accused of being indecorous for the refectory of a monastery in his Last Supper (The Feast in the Business firm of Levi).

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Source: https://courses.lumenlearning.com/boundless-arthistory/chapter/mannerism/

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