One of the Hallmarks of Mannerist Art Is the Use of

Manner of European art

Mannerism, also known equally Late Renaissance,^{[ane] [2]} is a style in European art that emerged in the subsequently years of the Italian High Renaissance around 1520, spreading past about 1530 and lasting until about the end of the 16th century in Italy, when the Baroque style largely replaced it. Northern Mannerism connected into the early on 17th century.^[3]

Stylistically, Mannerism encompasses a variety of approaches influenced by, and reacting to, the harmonious ideals associated with artists such every bit Leonardo da Vinci, Raphael, Vasari,^[four] and early Michelangelo. Where High Renaissance art emphasizes proportion, residuum, and platonic beauty, Mannerism exaggerates such qualities, often resulting in compositions that are asymmetrical or unnaturally elegant.^[5] Notable for its artificial (as opposed to naturalistic) qualities,^[6] this artistic manner privileges compositional tension and instability rather than the rest and clarity of earlier Renaissance painting. Mannerism in literature and music is notable for its highly florid fashion and intellectual sophistication.^[seven]

The definition of Mannerism and the phases inside it continues to be a field of study of debate among art historians. For case, some scholars take applied the label to sure early on mod forms of literature (especially poetry) and music of the 16th and 17th centuries. The term is too used to refer to some late Gothic painters working in northern Europe from nigh 1500 to 1530, especially the Antwerp Mannerists—a group unrelated to the Italian movement. Mannerism has also been applied past illustration to the Silver Age of Latin literature.^[eight]

Nomenclature [edit]

Mannerism role-model: Laocoön and His Sons, an aboriginal sculpture, rediscovered in 1506; now in the Vatican Museums. The artists of Mannerism profoundly admired this piece of sculpture.^[five]

The word "Mannerism" derives from the Italian maniera, meaning "style" or "manner". Similar the English give-and-take "style", maniera tin can either indicate a specific blazon of style (a beautiful fashion, an abrasive fashion) or bespeak an accented that needs no qualification (someone "has style").^[9] In the 2nd edition of his Lives of the Nigh Splendid Painters, Sculptors, and Architects (1568), Giorgio Vasari used maniera in three different contexts: to discuss an artist's style or method of working; to draw a personal or group style, such as the term maniera greca to refer to the medieval Italo-Byzantine style or simply to the maniera of Michelangelo; and to affirm a positive judgment of artistic quality.^[10] Vasari was also a Mannerist artist, and he described the period in which he worked equally "la maniera moderna", or the "modern style".^[eleven] James V. Mirollo describes how "bella maniera" poets attempted to surpass in virtuosity the sonnets of Petrarch.^[12] This notion of "bella maniera" suggests that artists who were thus inspired looked to copying and bettering their predecessors, rather than against nature directly. In essence, "bella maniera" utilized the all-time from a number of source materials, synthesizing it into something new.^[12]

Equally a stylistic label, "Mannerism" is not easily defined. Information technology was used past Swiss historian Jacob Burckhardt and popularized past German art historians in the early on 20th century to categorize the seemingly uncategorizable art of the Italian 16th century – art that was no longer found to showroom the harmonious and rational approaches associated with the Loftier Renaissance. "High Renaissance" connoted a period distinguished by harmony, grandeur and the revival of classical antiquity. The term "Mannerist" was redefined in 1967 by John Shearman^[13] following the exhibition of Mannerist paintings organised by Fritz Grossmann at Manchester Urban center Art Gallery in 1965.^[xiv] The label "Mannerism" was used during the 16th century to comment on social behaviour and to convey a refined virtuoso quality or to signify a certain technique. Still, for later on writers, such as the 17th-century Gian Pietro Bellori, la maniera was a derogatory term for the perceived decline of art after Raphael, especially in the 1530s and 1540s.^[xv] From the late 19th century on, art historians have usually used the term to describe art that follows Renaissance classicism and precedes the Baroque.

Yet historians differ as to whether Mannerism is a style, a movement, or a menstruation; and while the term remains controversial it is notwithstanding ordinarily used to place European fine art and culture of the 16th century.^[16]

Origin and development [edit]

By the end of the High Renaissance, young artists experienced a crisis:^[five] it seemed that everything that could exist achieved was already achieved. No more difficulties, technical or otherwise, remained to be solved. The detailed noesis of anatomy, low-cal, physiognomy and the manner in which humans annals emotion in expression and gesture, the innovative use of the homo form in figurative composition, the use of the subtle gradation of tone, all had reached near perfection. The young artists needed to observe a new goal, and they sought new approaches.^[17] At this bespeak Mannerism started to emerge.^[v] The new way developed between 1510 and 1520 either in Florence,^[18] or in Rome, or in both cities simultaneously.^[xix]

Collected figures, ignudi, from Michelangelo'due south Sistine Chapel ceiling

Origins and role models [edit]

This catamenia has been described as a "natural extension"^[7] of the fine art of Andrea del Sarto, Michelangelo, and Raphael. Michelangelo adult his own style at an early age, a deeply original one which was greatly admired at first, and then ofttimes copied and imitated by other artists of the era.^[seven] Ane of the qualities nearly admired by his contemporaries was his terribilità, a sense of awe-inspiring grandeur, and subsequent artists attempted to imitate information technology.^[7] Other artists learned Michelangelo'southward impassioned and highly personal fashion by copying the works of the master, a standard way that students learned to paint and sculpt. His Sistine Chapel ceiling provided examples for them to follow, in particular his representation of nerveless figures frequently called ignudi and of the Libyan Sibyl, his vestibule to the Laurentian Library, the figures on his Medici tombs, and higher up all his Last Judgment. The later on Michelangelo was i of the nifty function models of Mannerism.^[seven] Young artists broke into his house and stole drawings from him.^[20] In his book Lives of the Most Eminent Painters, Sculptors, and Architects, Giorgio Vasari noted that Michelangelo stated in one case: "Those who are followers tin never laissez passer by whom they follow".^[20]

The competitive spirit [edit]

The competitive spirit was cultivated by patrons who encouraged sponsored artists to emphasize virtuosic technique and to compete with 1 another for commissions. Information technology drove artists to look for new approaches and dramatically illuminated scenes, elaborate dress and compositions, elongated proportions, highly stylized poses, and a lack of clear perspective. Leonardo da Vinci and Michelangelo were each given a committee by Gonfaloniere Piero Soderini to decorate a wall in the Hall of Five Hundred in Florence. These ii artists were set up to pigment side past side and compete against each other,^{[ citation needed ]} fueling the incentive to be as innovative every bit possible.

Copy afterwards lost original, Michelangelo's Battaglia di Cascina, by Bastiano da Sangallo, originally intended past Michelangelo to compete with Leonardo's entry for the aforementioned commission	Copy after lost original, Leonardo da Vinci's Battaglia di Anghiari, past Rubens, originally intended by Leonardo to compete with Michelangelo's entry for the same commission

Early mannerism [edit]

The early Mannerists in Florence—peculiarly the students of Andrea del Sarto such as Jacopo da Pontormo and Rosso Fiorentino—are notable for elongated forms, precariously counterbalanced poses, a collapsed perspective, irrational settings, and theatrical lighting. Parmigianino (a student of Correggio) and Giulio Romano (Raphael's caput assistant) were moving in similarly stylized aesthetic directions in Rome. These artists had matured under the influence of the High Renaissance, and their manner has been characterized as a reaction to or exaggerated extension of it. Instead of studying nature directly, younger artists began studying Hellenistic sculpture and paintings of masters past. Therefore, this manner is often identified every bit "anti-classical",^[21] yet at the fourth dimension it was considered a natural progression from the Loftier Renaissance. The earliest experimental phase of Mannerism, known for its "anti-classical" forms, lasted until well-nigh 1540 or 1550.^[xix] Marcia B. Hall, professor of art history at Temple University, notes in her book After Raphael that Raphael's premature death marked the beginning of Mannerism in Rome.^{[ citation needed ]}

In by analyses, it has been noted that mannerism arose in the early 16th century contemporaneously with a number of other social, scientific, religious and political movements such as the Copernican heliocentrism, the Sack of Rome in 1527, and the Protestant Reformation's increasing claiming to the power of the Catholic Church. Because of this, the mode's elongated forms and distorted forms were once interpreted as a reaction to the idealized compositions prevalent in Loftier Renaissance art.^[22] This caption for the radical stylistic shift c. 1520 has fallen out of scholarly favor, though early Mannerist fine art is still sharply assorted with High Renaissance conventions; the accessibility and rest accomplished past Raphael'due south Schoolhouse of Athens no longer seemed to interest young artists.^{[ citation needed ]}

High maniera [edit]

The 2d period of Mannerism is commonly differentiated^{[ citation needed ]} from the earlier, and then-chosen "anti-classical" phase. Subsequent mannerists stressed intellectual conceits and artistic virtuosity, features that take led later critics to accuse them of working in an unnatural and affected "manner" (maniera). Maniera artists looked to their older gimmicky Michelangelo as their master model; theirs was an fine art imitating art, rather than an art imitating nature. Art historian Sydney Joseph Freedberg argues that the intellectualizing aspect of maniera art involves expecting its audience to find and appreciate this visual reference—a familiar figure in an unfamiliar setting enclosed between "unseen, just felt, quotation marks".^[23] The acme of artifice is the Maniera painter's penchant for deliberately misappropriating a quotation. Agnolo Bronzino and Giorgio Vasari exemplify this strain of Maniera that lasted from well-nigh 1530 to 1580. Based largely at courts and in intellectual circles around Europe, Maniera fine art couples exaggerated elegance with exquisite attention to surface and particular: porcelain-skinned figures recline in an fifty-fifty, tempered low-cal, acknowledging the viewer with a absurd glance, if they brand eye contact at all. The Maniera subject rarely displays much emotion, and for this reason works exemplifying this trend are often called 'cold' or 'aristocratic.' This is typical of the so-called "stylish style" or Maniera in its maturity.^[24]

Spread of Mannerism [edit]

The cities Rome, Florence, and Mantua were Mannerist centers in Italy. Venetian painting pursued a different grade, represented past 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.^[25] The result was the start international artistic style since the Gothic.^[26] Other parts of Northern Europe did not take the reward of such straight contact with Italian artists, but the Mannerist style made its presence felt through prints and illustrated books. European rulers, amidst others, purchased Italian works, while northern European artists continued to travel to Italy, helping to spread the Mannerist style. Private Italian artists working in the Due north gave birth to a motion known every bit the Northern Mannerism. Francis I of French republic, for case, was presented with Bronzino's Venus, Cupid, Folly and Fourth dimension. The style waned in Italy afterward 1580, as a new generation of artists, including the Carracci brothers, Caravaggio and Cigoli, revived naturalism. Walter Friedlaender identified this period as "anti-mannerism", just as the early Mannerists were "anti-classical" in their reaction away from the artful values of the High Renaissance^[27] and today the Carracci brothers and Caravaggio are agreed to have begun the transition to Baroque-manner painting which was dominant by 1600.

Exterior of Italy, notwithstanding, Mannerism continued into the 17th century. In France, where Rosso traveled to work for the courtroom at Fontainebleau, it is known as the "Henry II style" and had a particular impact on architecture. Other important continental centers of Northern Mannerism include the courtroom of Rudolf II in Prague, as well as Haarlem and Antwerp. Mannerism equally a stylistic category is less frequently applied to English visual and decorative arts, where native labels such as "Elizabethan" and "Jacobean" are more commonly applied. Seventeenth-century Artisan Mannerism is one exception, practical to architecture that relies on design books rather than on existing precedents in Continental Europe.^[28]

Of particular annotation is the Flemish influence at Fontainebleau that combined the eroticism of the French style with an early version of the vanitas tradition that would dominate seventeenth-century Dutch and Flemish painting. Prevalent at this time was the pittore vago, a clarification of painters from the north who entered the workshops in France and Italy to create a truly international style.

Sculpture [edit]

Equally in painting, early on Italian Mannerist sculpture was very largely an attempt to find an original mode that would meridian the accomplishment 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, only information technology was little more than popular and then than it is at present, 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.^[29] Cellini's bronze Perseus with the head of Medusa is certainly a masterpiece, designed with eight angles of view, another Mannerist feature, and artificially stylized in comparison with the Davids of Michelangelo and Donatello.^[30] Originally a goldsmith, his famous gold and enamel Table salt Cellar (1543) was his first sculpture, and shows his talent at its best.^[31]

Pocket-sized bronze figures for collector's cabinets, often mythological subjects with nudes, were a popular Renaissance form at which Giambologna, originally Flemish only based in Florence, excelled in the later role of the century. He as well created life-size sculptures, of which two entered the collection in the Piazza della Signoria. He and his followers devised elegant elongated examples of the figura serpentinata, often of two intertwined figures, that were interesting from all angles.^[32]

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Early on theorists [edit]

Giorgio Vasari [edit]

Giorgio Vasari's opinions virtually 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 piece of work, all criteria that emphasized the creative person'southward intellect and the patron's sensibility. The creative person was now no longer only a trained fellow member of a local Guild of St Luke. Now he took his place at court alongside scholars, poets, and humanists, in a climate that fostered an appreciation for elegance and complexity. The coat-of-arms of Vasari's Medici patrons appears at the top of his portrait, quite as if it were the artist'due south own. The framing of the woodcut epitome of Vasari's Lives would be chosen "Jacobean" in an English language-speaking milieu. 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. As a mere frame information technology is extravagant: Mannerist, in short.

Gian Paolo Lomazzo [edit]

Another literary figure from the menstruation is Gian Paolo Lomazzo, who produced ii works—i practical and one metaphysical—that helped define the Mannerist creative person'south 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 office from Antiquity just Mannerism elaborated upon. Lomazzo'south systematic codification of aesthetics, which typifies the more formalized and academic approaches typical of the later 16th century, emphasized a consonance between the functions of interiors and the kinds of painted and sculpted decors that would exist suitable. Iconography, oftentimes convoluted and abstruse, is a more than prominent element in the Mannerist styles. His less applied and more metaphysical Thought del tempio della pittura (The platonic temple of painting, Milan, 1590) offers a description along the lines of the "four temperaments" theory of human nature and personality, defining the role of individuality in judgment and artistic invention.

Characteristics of artworks created during the Mannerist menstruum [edit]

Mannerism was an anti-classical movement which differed greatly from the aesthetic ideologies of the Renaissance.^[33] Though Mannerism was initially accepted with positivity based on the writings of Vasari,^[33] it was later regarded in a negative calorie-free because information technology solely view as, "an alteration of natural truth and a trite repetition of natural formulas."^[33] As an artistic moment, Mannerism involves many characteristics that are unique and specific to experimentation of how art is perceived. Below is a list of many specific characteristics that Mannerist artists would use in their artworks.

• Elongation of figures: oftentimes Mannerist work featured the elongation of the human being figure – occasionally this contributed to the baroque imagery of some Mannerist fine art.^[34]
• Distortion of perspective: in paintings, the distortion of perspective explored the ideals for creating a perfect space. However, the idea of perfection sometimes alluded to the creation of unique imagery. One way in which distortion was explored was through the technique of foreshortening. At times, when farthermost baloney was utilized, information technology would render the paradigm well-nigh impossible to decipher.^[34]
• Blackness backgrounds: Mannerist artists often utilized flat black backgrounds to present a full dissimilarity of contours in lodge to create dramatic scenes. Black backgrounds likewise contributed to a creating sense of fantasy within the subject affair.^[34]
• Use of darkness and light: many Mannerists were interested in capturing the essence of the nighttime heaven through the use of intentional illumination, often creating a sense of fantasy scenes. Notably, special attention was paid to torch and moonlight to create dramatic scenes.^[34]
• Sculptural forms: Mannerism was greatly influenced by sculpture, which gained popularity in the sixteenth century. As a effect, Mannerist artists oft based their depictions of human bodies in reference to sculptures and prints. This allowed Mannerist artists to focus on creating dimension.^[34]
• Clarity of line: the attention that was paid to clean outlines of figures was prominent within Mannerism and differed largely from the Baroque and High Renaissance.The outlines of figures frequently allowed for more attention to detail.^[34]
• Limerick and infinite: Mannerist artists rejected the ethics of the Renaissance, notably the technique of i-signal perspective. Instead, there was an accent on atmospheric effects and distortion of perspective. The use of space in Mannerist works instead privileged crowded compositions with diverse forms and figures or scant compositions with emphasis on blackness backgrounds.^[34]
• Mannerist movement: the interest in the study of human movement often pb to Mannerist artists rendering a unique type of movement linked to serpentine positions. These positions oft anticipate the movements of future positions because of their often-unstable motions figures. In addition, this technique attributes to the artist's experimentation of form.^[34]
• Painted frames: in some Mannerist works, painted frames were utilized to blend in with the background of paintings and at times, contribute to the overall composition of the artwork. This is at times prevalent when there is special attention paid to ornate detailing.^[34]
• Atmospheric effects: many Mannerists utilized the technique of sfumato, known as, "the rendering of soft and hazy contours or surfaces"^[34] in their paintings for rendering the streaming of light.^[34]
• Mannerist colour: a unique aspect of Mannerism was in add-on to the experimentation of form, composition, and light, much of the same curiosity was applied to color. Many artworks toyed with pure and intense hues of dejection, light-green, pinks, and yellows, which at times detract from the overall design of artworks, and at other times, compliment it. Additionally, when rending skin tone, artists would ofttimes concentrate on create overly creaming and calorie-free complexions and oft utilize undertones of blue.^[34]

Mannerist artists and examples of their works [edit]

Joachim Wtewael Perseus and Andromeda, 1616, Louvre, the composition displaying a Vanité of bones and seashells in the foreground and an elaborate academic nude with a palette borrowing from the forefront for Andromeda'due south cheeks. The Dragon seems of sino-oriental influence.

Jacopo da Pontormo [edit]

Jacopo da Pontormo'due south work is i of the nearly important contributions to Mannerism.^[35] He oftentimes drew his subject thing from religious narratives; heavily influenced by the works of Michelangelo,^[35] he often alludes to or uses sculptural forms as models for his compositions.^[33] A well-known element of his work is the rendering of gazes by various figures which ofttimes pierce out at the viewer in various directions.^[33] Dedicated to his piece of work, Pontormo often expressed anxiety nearly its quality and was known to work slowly and methodically.^[33] His legacy is highly regarded, as he influenced artists such as Agnolo Bronzino and the aesthetic ideals of tardily Mannerism.^[35]

Pontomoro'southward Joseph in Egypt, painted in 1517,^[33] portrays a running narrative of iv Biblical scenes in which Joseph reconnects with his family. On the left side of the composition, Pontomoro depicts a scene of Joseph introducing his family to the Pharaoh of Egypt. On the correct, Joseph is riding on a rolling demote, equally cherubs fill the composition around him in addition to other figures and large rocks on a path in the distance. In a higher place these scenes, is a screw staircase which Joseph guides 1 his sons to their mother at the peak. The final scene, on the right, is the final stage of Jacob's death as his sons watch nearby.^[33]

Pontormo's Joseph in Egypt features many Mannerist elements. 1 element is utilization of incongruous colors such every bit various shades of pinks and blues which make upward a majority of the canvas. An additional chemical element of Mannerism is the incoherent handling of time most the story of Joseph through various scenes and use of space. Through the inclusion of the iv unlike narratives, Ponotormo creates a chaotic composition and overall sense of busyness.

Rosso Fiorentino and the School of Fontainebleau [edit]

Rosso Fiorentino, who had been a fellow student of Pontormo in the studio of Andrea del Sarto, in 1530 brought Florentine Mannerism to Fontainebleau, where he became i of the founders of French 16th-century Mannerism, popularly known as the Schoolhouse of Fontainebleau.

The examples of a rich and hectic decorative style at Fontainebleau further disseminated the Italian manner through the medium of engravings to Antwerp, and from there throughout Northern Europe, from London to Poland. Mannerist blueprint was extended to luxury goods like argent and carved furniture. A sense of tense, controlled emotion expressed in elaborate symbolism and allegory, and an ideal of female person beauty characterized by elongated proportions are features of this fashion.

Agnolo Bronzino [edit]

Agnolo Bronzino was a student of Pontormo,^[36] whose style was very influential and often confusing in terms of figuring out the attribution of many artworks.^[36] During his career, Bronzino likewise collaborated with Vasari equally a set designer for the production "Comedy of Magicians", where he painted many portraits.^[36] Bronzino's work was sought afterward, and he enjoyed peachy success when he became a court painter for the Medici family in 1539.^[36] A unique Mannerist feature of Bronzino's work was the rendering of milky complexions.^[36]

In the painting, Venus, Cupid, Folly and Time, Bronzino portrays an erotic scene that leaves the viewer with more than questions than answers. In the foreground, Cupid and Venus are near engaged in a kiss, but break as if caught in the deed. In a higher place the pair are mythological figures, Begetter Time on the right, who pulls a curtain to reveal the pair and the representation of the goddess of the dark on the left. The composition also involves a grouping of masks, a hybrid fauna equanimous of features of a girl and a serpent, and a man depicted in agonizing hurting. Many theories are bachelor for the painting, such as information technology conveying the dangers of syphilis, or that the painting functioned as a courtroom game.^[37]

Mannerist portraits by Bronzino are distinguished by a serene elegance and meticulous attention to item. Equally a result, Bronzino'southward sitters have been said to project an apathy and marked emotional distance from the viewer. In that location is likewise a virtuosic concentration on capturing the precise blueprint and sheen of rich textiles. Specifically, within the Venus, Cupid, Folly and Time, Bronzino utilizes the tactics of Mannerist movement, attention to detail, color, and sculptural forms. Show of Mannerist motility is credible in the awkward movements of Cupid and Venus, as they contort their bodies to partly embrace. Particularly, Bronzino paints the complexion with the many forms equally a perfect porcelain white with a smooth effacement of their muscles which provides a reference to the smoothness of sculpture.

Alessandro Allori [edit]

Alessandro Allori's (1535–1607) Susanna and the Elders (below) is distinguished past latent eroticism and consciously bright still life detail, in a crowded, contorted composition.

Jacopo Tintoretto [edit]

Jacopo Tintoretto has been known for his vastly different contributions to Venetian painting later on the legacy of Titian. His work, which differed greatly from his predecessors, had been criticized by Vasari for its, "fantastical, extravagant, bizarre style."^[38] Within his work, Tintoretto adopted Mannerist elements that have distanced him from the classical notion of Venetian painting, every bit he often created artworks which contained elements of fantasy and retained naturalism.^[38] Other unique elements of Tintoretto's work include his attending to color through the regular utilization of rough brushstrokes^[38] and experimentation with pigment to create illusion.^[38]

An artwork that is associated with Mannerist characteristics is the Last Supper; it was commissioned by Michele Alabardi for the San Giorgio Maggiore in 1591.^[38] In Tintoretto's Terminal Supper, the scene is portrayed from the angle of group of people forth the correct side of the composition. On the left side of the painting, Christ and the Apostles occupy one side of the table and unmarried out Judas. Inside the dark space, in that location are few sources of light; one source is emitted by Christ's halo and hanging torch above the table.

In its distinct limerick, the Concluding Supper portrays Mannerist characteristics. One feature that Tintoretto utilizes is a black groundwork. Though the painting gives some indication of an interior space through the use of perspective, the edges of the composition are mostly shrouded in shadow which provides drama for the cardinal scene of the Concluding Supper. Additionally, Tintoretto utilizes the spotlight furnishings with lite, specially with the halo of Christ and the hanging torch higher up the table. A third Mannerist characteristic that Tintoretto employs are the atmospheric furnishings of figures shaped in fume and float about the composition.

El Greco [edit]

El Greco attempted to express religious emotion with exaggerated traits. After the realistic depiction of the human form and the mastery of perspective achieved in High Renaissance, some artists started to deliberately distort proportions in disjointed, irrational space for emotional and artistic effect. El Greco nonetheless is a deeply original creative person. He has been characterized past modern scholars every bit an creative person so individual that he belongs to no conventional school.^[vii] Key aspects of Mannerism in El Greco include the jarring "acrid" palette, elongated and tortured beefcake, irrational perspective and light, and obscure and troubling iconography.^{[39] [forty]} El Greco's style was a culmination of unique developments based on his Greek heritage and travels to Spain and Italian republic.^[41]

El Greco's piece of work reflects a multitude of styles including Byzantine elements as well as the influence of Caravaggio and Parmigianino in add-on to Venetian coloring.^[41] An of import element is his attending to color as he regarded it to be one of the near of import aspects of his painting.^[42] Over the course of his career, El Greco's work remained in high demand as he completed important commissions in locations such as the Colegio de la Encarnación de Madrid.^[41]

El Greco's unique painting fashion and connection to Mannerist characteristics is particularly prevalent in the work Laocoön. Painted in 1610,^[43] it depicts the mythological tale of Laocoön, who warned the Trojans about the danger of the wooden horse which was presented by the Greeks equally peace offering to the goddess Minerva. Every bit a issue, Minerva retaliated in revenge by summoning serpents to kill Laocoön and his two sons. Instead of existence set up confronting the backdrop of Troy, El Greco situated the scene near Toledo, Spain in order to "universalize the story by cartoon out its relevance for the gimmicky globe."^[43]

El Greco'due south unique style in Laocoön exemplifies many Mannerist characteristics. Prevalent is the elongation of many of the human forms throughout the composition in conjunction with their serpentine move, which provides a sense of elegance. An additional element of Mannerist way is the atmospheric effects in which El Greco creates a hazy sky and blurring of landscape in the background.

Benvenuto Cellini [edit]

Benvenuto Cellini created the Cellini Salt Cellar of gold and enamel in 1540 featuring Poseidon and Amphitrite (water and earth) placed in uncomfortable positions and with elongated proportions. It is considered a masterpiece of Mannerist sculpture.

Minerva Dressing (1613) past Lavinia Fontana (1552–1614). Galleria Borghese, Rome.

Lavinia Fontana [edit]

Lavinia Fontana (1552–1614) was a Mannerist portraitist often best-selling to be the first female career creative person in Western Europe.^[44] She was appointed to be the Portraitist in Ordinary at the Vatican.^[45] Her way is characterized every bit being influenced by the Carracci family unit of painters by the colors of the Venetian School. She is known for her portraits of noblewomen, and for her depiction of nude figures, which was unusual for a woman of her time.^[46]

Taddeo Zuccaro (or Zuccari) [edit]

Taddeo Zuccaro was born in Sant'Angelo in Vado, near Urbino, the son of Ottaviano Zuccari, an almost unknown painter. His brother Federico, built-in around 1540, was as well a painter and architect.

Federico Zuccaro (or Zuccari) [edit]

Federico Zuccaro's documented career every bit a painter began in 1550, when he moved to Rome to work under Taddeo, his elder brother. He went on to complete decorations for Pius Four, and help consummate the fresco decorations at the Villa Farnese at Caprarola. Between 1563 and 1565, he was active in Venice with the Grimani family of Santa Maria Formosa. During his Venetian menses, he traveled aslope Palladio in Friuli.

Joachim Wtewael [edit]

Joachim Wtewael (1566–1638) continued to paint in a Northern Mannerist mode until the finish of his life, ignoring the arrival of the Baroque art, and making him perhaps the last significant Mannerist creative person yet to be working. His subjects included large scenes with notwithstanding life in the manner of Pieter Aertsen, and mythological scenes, many small chiffonier paintings beautifully executed on copper, and most featuring nudity.

Giuseppe Arcimboldo [edit]

Giuseppe Arcimboldo is nigh readily known for his artworks that incorporate still life and portraiture.^[47] His style is viewed as Mannerist with the assemblage style of fruits and vegetables in which its limerick can be depicted in various ways—correct side up and upside down.^[47] Arcimboldo'southward artworks have besides applied to Mannerism in terms of sense of humor that it conveys to viewers, considering it does not hold the same degree of seriousness as Renaissance works.^[47] Stylistically, Arcimboldo's paintings are known for their attending to nature and concept of a "monstrous appearance."^[47]

Ane of Arcimboldo'due south paintings which contains various Mannerist characteristics is, Vertumnus. Painted against a blackness background is a portrait of Rudolf II, whose body is composed of diverse vegetables, flowers, and fruits.^[47] The joke of the painting communicates the humour of power which is that Emperor Rudolf 2 is hiding a dark inner self backside his public image.^[47] On the other hand, the serious tone of the painting foreshadows the good fortune that would be prevalent during his reign.^[47]

Vertumnus contains various Mannerist elements in terms of its composition and message. One chemical element is the flat, black background which Arcimboldo utilizes to emphasize the status and identity of the Emperor, as well as highlighting the fantasy of his reign. In the portrait of Rudolf II, Arcimboldo too strays away from the naturalistic representation of the Renaissance, and explores the construction of composition by rendering him from a jumble of fruits, vegetables, plants and flowers. Another chemical element of Mannerism which the painting portrays is the dual narrative of a joke and serious message; humor wasn't normally utilized in Renaissance artworks.

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Mannerist architecture [edit]

Mannerist architecture was characterized by visual trickery and unexpected elements that challenged the Renaissance norms.^[48] Flemish artists, many of whom had traveled to Italy and were influenced by Mannerist developments in that location, were responsible for the spread of Mannerist trends into Europe north of the Alps, including into the realm of compages.^[49] During the menses, 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 all-time known builder associated with the Mannerist manner, and a pioneer at the Laurentian Library, was Michelangelo (1475–1564).^[50] He is credited with inventing the giant order, a large pilaster that stretches from the lesser to the top of a façade.^[51] He used this in his design for the Piazza del Campidoglio in Rome. The Herrerian way (Castilian: estilo herreriano or arquitectura herreriana) of compages was developed in Spain during the last tertiary of the 16th century under the reign of Philip Two (1556–1598),^[52] and continued in force in the 17th century, but transformed by the Baroque style of the time. Information technology corresponds to the third and final stage of the Spanish Renaissance architecture, which evolved into a progressive purification ornamental, from the initial Plateresque to classical Purism of the 2d third of the 16th century and full nudity decorative that introduced the Herrerian style.

Prior to the 20th century, the term Mannerism had negative connotations, only it is now used to describe the historical period in more than general, non-judgmental terms.^[53] Mannerist architecture has besides been used to describe a tendency in the 1960s and 1970s that involved breaking the norms of modernist architecture while at the same fourth dimension recognizing their existence.^[54] Defining Mannerism in this context, architect and author Robert Venturi wrote "Mannerism for compages of our time that acknowledges conventional order rather than original expression but breaks the conventional guild to accommodate complexity and contradiction and thereby engages ambiguity unambiguously."^[54]

Renaissance examples [edit]

An example of Mannerist architecture is the Villa Farnese at Caprarola,^[55] in the rugged countryside outside of Rome. The proliferation of engravers during the 16th century spread Mannerist styles more than apace than whatever previous styles.

Dense with ornament of "Roman" detailing, the display doorway at Colditz Castle exemplifies the northern style, characteristically practical equally an isolated "set slice" against unpretentious colloquial walling.^{[ citation needed ]}

From the late 1560s onwards, many buildings in Valletta, the new majuscule urban center of Malta, were designed past the architect Girolamo Cassar in the Mannerist style. Such buildings include St. John'due south Co-Cathedral, the Grandmaster's Palace and the seven original auberges. Many of Cassar'southward buildings were modified over the years, specially in the Baroque period. However, a few buildings, such every bit Auberge d'Aragon and the outside of St. John'southward Co-Cathedral, still retain most of Cassar'south original Mannerist pattern.^[56]

• 

  Giulio Romano, Pallazo Ducale in Mantova

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  Own firm of Giulio Romano in Mantova

• 

Mannerism in literature and music [edit]

In English literature, Mannerism is commonly identified with the qualities of the "Metaphysical" poets of whom the most famous is John Donne.^[58] The witty sally of a Baroque writer, John Dryden, confronting the verse of Donne in the previous generation, affords a concise dissimilarity between Baroque and Mannerist aims in the arts:

He affects the metaphysics, not just in his satires but in his amorous verses, where nature only should reign; and perplexes the minds of the fair sex with nice ^[59] speculations of philosophy when he should engage their hearts and entertain them with the softnesses of love.^{[60] : xv} (italics added)

The rich musical possibilities in the verse of the late 16th and early 17th centuries provided an attractive basis for the madrigal, which apace rose to prominence as the pre-eminent musical form in Italian musical culture, every bit discussed past Tim Carter:

The madrigal, especially in its aristocratic guise, was apparently a vehicle for the 'stylish fashion' of Mannerism, with poets and musicians revelling in witty conceits and other visual, verbal and musical tricks to delight the connoisseur.^[61]

The word Mannerism has also been used to describe the style of highly florid and contrapuntally circuitous polyphonic music made in France in the belatedly 14th century.^[62] This menstruum is now ordinarily referred to as the ars subtilior.

Mannerism and theatre [edit]

The Early on Commedia dell'Arte (1550–1621): The Mannerist Context by Paul Castagno discusses Mannerism'south effect on the contemporary professional theatre.^[63] Castagno's was the kickoff study to define a theatrical form as Mannerist, employing the vocabulary of Mannerism and maniera to discuss the typification, exaggerated, and effetto meraviglioso of the comici dell'arte. See Function II of the higher up volume for a total discussion of Mannerist characteristics in the commedia dell'arte. The written report is largely iconographic, presenting a pictorial prove that many of the artists who painted or printed commedia images were in fact, coming from the workshops of the solar day, heavily ensconced in the maniera tradition.

The preciosity in Jacques Callot'due south minute engravings seem to belie a much larger calibration of action. Callot's Balli di Sfessania (literally, dance of the buttocks) celebrates the commedia'south blatant eroticism, with protruding phalli, spears posed with the anticipation of a comic ream, and grossly exaggerated masks that mix the bestial with human. The eroticism of the innamorate (lovers) including the baring of breasts, or excessive veiling, was quite in faddy in the paintings and engravings from the second School of Fontainebleau, particularly those that detect a Franco-Flemish influence. Castagno demonstrates iconographic linkages between genre painting and the figures of the commedia dell'arte that demonstrate how this theatrical form was embedded within the cultural traditions of the late cinquecento.^[64]

Commedia dell'arte, disegno interno, and the discordia concors [edit]

Important corollaries exist betwixt the disegno interno, which substituted for the disegno esterno (external design) in Mannerist painting. This notion of projecting a deeply subjective view as superseding nature or established principles (perspective, for instance), in essence, the emphasis away from the object to its bailiwick, now emphasizing execution, displays of virtuosity, or unique techniques. This inner vision is at the heart of commedia performance. For example, in the moment of improvisation the actor expresses his virtuosity without listen to formal boundaries, decorum, unity, or text. Arlecchino became emblematic of the mannerist discordia concors (the spousal relationship of opposites), at one moment he would be gentle and kind, then, on a dime, become a thief violently acting out with his battle. Arlecchino could be graceful in movement, only in the side by side trounce, to awfully trip over his feet. Freed from the external rules, the actor celebrated the evanescence of the moment; much the manner Benvenuto Cellini would dazzle his patrons by draping his sculptures, unveiling them with lighting effects and a sense of the marvelous. The presentation of the object became as of import every bit the object itself.

Neo-Mannerism [edit]

In the 20th century, the rise of Neo-Mannerism stemmed from artist Ernie Barnes. The style was heavily influenced by both the Jewish Community, besides as the African-American Community, leading to "The Beauty of the Ghetto" exhibition between 1972 - 1979. The Exhibition toured major American cities, and was hosted by dignitaries, professional athletes, and celebrities. When the exhibition was on view in 1974 at the Museum of African Art in Washington, DC, Rep. John Conyers stressed the important positive message of the exhibit in the Congressional Record.

The style of Neo-Mannerism, as adult past Barnes, includes subjects with elongated limbs and bodies, besides as exaggerated motion. Some other mutual theme was closed eyes of the subjects, every bit a visual representation of "how bullheaded we are to one another's humanity".^[65] "We expect upon each other and determine immediately: This person is blackness, so he must be ... This person lives in poverty, and so he must be ...".

Neo-Mannerism and Theater & Movie theatre [edit]

In an interview, picture show director Peter Greenaway mentions Federico Fellini and Bill Viola as two major inspirations for his exhaustive and self-referential play with the insoluble tension between the database grade of images and the various analogous and digital interfaces that structure them cinematically. This play tin exist called neo-mannerist precisely insofar equally it is distinguished from the (neo-)baroque: "Just as Roman Catholicism would offer you paradise and heaven, there is an equivalent commercial paradise being offered very largely by the whole capitalistic effect, which is associated with Western cinema. This is my political illustration in terms of the employ of multimedia as a political weapon. I would equate, in a sense, the great baroque Counter-Reformation, its cultural activity, with what movie theater, American cinema predominantly, has been doing in the last seventy years."^[66]

Criticism [edit]

According to fine art critic Jerry Saltz, "Neo-Mannerism" (new Mannerism) is among several clichés that are "squeezing the life out of the art globe".^[67] Neo-Mannerism describes art of the 21st century that is turned out past students whose academic teachers "accept scared [them] into existence pleasingly meek, imitative, and ordinary".^[67]

See too [edit]

• Counter-Maniera
• Mannerist architecture and sculpture in Poland
• Timeline of Italian artists to 1800

Notes [edit]

1. ^ Moffett, Marian; Fazio, Michael W.; Wodehouse, Lawrence (2003). A World History of Architecture. Laurence King Publishing. p. 330. ISBN978-1-85669-371-4.
2. ^ Bousquet, Jacques (1964). Mannerism: The Painting and Way of the Late Renaissance. Braziller.
3. ^ Freedberg 1971, 483.
4. ^ "Mannerism". www.nga.gov . Retrieved three December 2021.
5. ^ ^{a b c d} Gombrich 1995,^{[ folio needed ]}.
6. ^ "Mannerism: Bronzino (1503–1572) and his Contemporaries". Metropolitan Museum of Art. Retrieved 19 May 2013.
7. ^ ^{a b c d e f} Art and Illusion, Due east. H. Gombrich, ISBN 9780691070001
8. ^ "the-mannerist-style". artsconnected.org. Archived from the original on twenty June 2012. Retrieved 9 January 2015.
9. ^ John Shearman, "Maniera as an Aesthetic Platonic", in Cheney 2004, 37.
10. ^ Cheney 1997, 17.
11. ^ Briganti 1961, 6.
12. ^ ^{a b} Mirollo 1984,^{[ page needed ]}
13. ^ Shearman 1967.
14. ^ Grossmann 1965.
15. ^ Smyth 1962, 1–2.
16. ^ Cheney^{[ citation needed ]}, "Preface", xxv–xxxii, and Manfred Wundram, "Mannerism," Grove Art Online. Oxford University Press, [accessed 23 Apr 2008].
17. ^ "The vivid neurotics of the late Renaissance". The Spectator. 17 May 2014.
18. ^ Friedländer 1965,^{[ folio needed ]}
19. ^ ^{a b} Freedberg 1993, 175–77.
20. ^ ^{a b} Giorgio Vasari, Lives of the Most Eminent Painters, Sculptors, and Architects
21. ^ Friedländer 1965,^{[ folio needed ]}.
22. ^ Manfred Wundram, "Mannerism," Grove Art Online. Oxford University Printing, [accessed 23 April 2008].
23. ^ Freedberg 1965.
24. ^ Shearman 1967, p. xix
25. ^ Briganti 1961, 32–33
26. ^ Briganti 1961, 13.
27. ^ Friedländer 1957,^{[ folio needed ]}.
28. ^ Summerson 1983, 157–72.
29. ^ Olson, 179–182
30. ^ Olson, 183–187
31. ^ Olson, 182–183
32. ^ Olson, 194–202
33. ^ ^{a b c d e f thousand h} Marchetti Letta, Elisabetta (1995). Pontormo, Rosso Fiorentino. Constable. p. 6. ISBN0094745501. OCLC 642761547.
34. ^ ^{a b c d e f one thousand h i j k l} Smart, Alastair (1972). The Renaissance and Mannerism in Northern Europe and Spain. New York: Harcourt Brace Jovanovich. p. 118.
35. ^ ^{a b c} Cox-Rearick, Janet. "Pontormo, Jacopo da". Grove Fine art Online . Retrieved 1 April 2019.
36. ^ ^{a b c d due east} Cecchi, Alessandro; Bronzino, Agnolo; vans, Christopher Eastward (1996). Bronzino. Antella, Florence: The Library of Nifty Masters. p. 20.
37. ^ Stokstad, Marilyn; Cothren, Michael Watt (2011). Fine art History . Upper Saddle River, NJ: Pearson/Prentice Hall. pp. 663. ISBN9780205744220.
38. ^ ^{a b c d e} Nichols, Tom (1 October 2015). Tintoretto : tradition and identity. p. 234. ISBN9781780234816. OCLC 970358992.
39. ^ "National Gallery of Art – El Greco". Nga.gov. Retrieved 19 May 2013.
40. ^ "Metropolitan Museum of Art El Greco (Domenikos Theotokopoulos) (1541–1614)". Metmuseum.org. Retrieved 19 May 2013.
41. ^ ^{a b c} Marías, Fernando (2003). "Greco, El". Grove Art Online . Retrieved one April 2019.
42. ^ Lambraki-Plaka, Marina (1999). El Greco-The Greek. Kastaniotis. pp. 47–49. ISBN960-03-2544-viii.
43. ^ ^{a b} Davies, David; Greco, J. H; Metropolitan Museum of Art; National Gallery (2003). El Greco. London: National Gallery Company. p. 245.
44. ^ Murphy, Caroline (2003). Lavinia Fontana : a painter and her patrons in sixteenth-century Bologna. New Haven: Yale University Press. ISBN0300099134. OCLC 50478433.
45. ^ Cheney, Liana (2000). Alicia Craig Faxon; Kathleen Lucey Russo (eds.). Self-portraits by women painters. Aldershot, Hants, England: Ashgate. ISBN1859284248. OCLC 40453030.
46. ^ "Lavinia Fontana's nude Minervas. – Free Online Library". www.thefreelibrary.com . Retrieved x March 2019.
47. ^ ^{a b c d e f g} Kaufmann, Thomas DaCosta (2010). Arcimboldo. Academy of Chicago Printing. p. 167. doi:10.7208/chicago/9780226426884.001.0001. ISBN9780226426877.
48. ^ "Style Guide: Mannerism". Victoria and Albert. 19 December 2012. Retrieved 11 Jan 2015.
49. ^ Wundram, Manfred (1996). Dictionary of Fine art. Grove. p. 281.
50. ^ Peitcheva, Maria (2016). Michelangelo: 240 Colour Plates. StreetLib. p. ii. ISBN978-88-925-7791-6.
51. ^ ^{[ verification needed ]} Jarzombek, Mark, "Pilaster Play" (PDF), Thresholds, 28 (Winter 2005): 34–41
52. ^ "Arquitectura Herreriana". world wide web.arteespana.com (in Spanish). Retrieved 5 January 2019.
53. ^ Arnold Hauser. Mannerism: The Crisis of the Renaissance and the Origins of Modernistic Art. (Cambridge: Harvard University Press,1965).
54. ^ ^{a b} Venturi, Robert. "Architecture as Signs and Systems" (PDF) . Retrieved 11 Jan 2015.
55. ^ Bury David, The Villa in the Life of Renaissance Rome, Princeton University Press, 1979: 281–85
56. ^ Ellul, Michael (2004). "In search of Girolamo Cassar: An unpublished manuscript at the Land Athenaeum of Lucca" (PDF). Melita Historica. XIV (one): 37. ISSN 1021-6952. Archived from the original (PDF) on 13 March 2016.
57. ^ "Historic Centre of Salvador de Bahia", Globe Heritage List, Paris: UNESCO
58. ^ "Gale eBooks – Document – John Donne". go.gale.com . Retrieved iii February 2020.
59. ^ 'Nice' in the sense of 'finely reasoned.'
60. ^ Gardner, Helen (1957). Metaphysical Poets. Oxford University Press, London. ISBN9780140420388 . Retrieved xv August 2014.
61. ^ Carter 1991, 128.
62. ^ Apel 1946–47, 20.
63. ^ Castagno 1992,^{[ page needed ]}.
64. ^ Castagno 1994,^{[ page needed ]}.
65. ^ Barnes, Ernie. Interview, "Personal Diaries" with Ed Gordon, BET, 1990
66. ^ Greenway, Peter. Interview, "Cinema of Ideas" with Henk Oosterling, 2001
67. ^ ^{a b} Saltz, Jerry (10 October 2013). "Jerry Saltz on Art's Insidious New Cliché: Neo-Mannerism". Vulture . Retrieved 16 Baronial 2014.

References [edit]

• Apel, Willi. 1946–47. "The French Secular Music of the Late Fourteenth Century". Acta Musicologica eighteen: 17–29.
• Briganti, Giuliano. 1962. Italian Mannerism, translated from the Italian by Margaret Kunzle. London: Thames and Hudson; Princeton: Van Nostrand; Leipzig: VEB Edition. (Originally published in Italian, as La maniera italiana, La pittura italiana ten. Rome: Editori Riuniti, 1961).
• Carter, Tim. 1991. Music in Late Renaissance and Early Baroque Italy. London: Amadeus Press. ISBN 0-9313-4053-5^{[ verification needed ]}
• Castagno, Paul C. 1994. The Early Commedia Dell'arte (1550–1621): The Mannerist Context. New York: P. Lang. ISBN 0-8204-1794-7.
• Cheney, Liana de Girolami (ed.). 2004. Readings in Italian Mannerism, second press, with a foreword past Craig Hugh Smyth. New York: Peter Lang. ISBN 0-8204-7063-5. (Previous edition, without the foreword past Smyth, New York: Peter Lang, 1997. ISBN 0-8204-2483-eight).
• Cox-Rearick, Janet. "Pontormo, Jacopo da." Grove Art Online.eleven April 2019. http://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000068662.
• Davies, David, Greco, J. H Elliott, Metropolitan Museum of Art (New York, N.Y.), and National Gallery (Great U.k.). El Greco. London: National Gallery Company, 2003.
• Freedberg, Sidney J. 1965. "Observations on the Painting of the Maniera".^{[ full citation needed ]} Reprinted in Cheney 2004, 116–23.
• Freedberg, Sidney J. 1971. Painting in Italy, 1500–1600, first edition. The Pelican History of Art. Harmondsworth and Baltimore: Penguin Books. ISBN 0-xiv-056035-ane
• Freedberg, Sidney J. 1993. Painting in Italy, 1500–1600, third edition, New Haven and London: Yale University Press. ISBN 0-300-05586-2 (cloth) ISBN 0-300-05587-0 (pbk)
• Friedländer, Walter. 1965. Mannerism and Anti-Mannerism in Italian Painting. New York: Schocken. LOC 578295 (Start edition, New York: Columbia University Press, 1958.)
• Gombrich, E[rnst] H[ans]. 1995. The Story of Art, sixteenth edition. London: Phaidon Press. ISBN 0-7148-3247-two.
• Kaufmann, Thomas DaCosta. Arcimboldo : Visual Jokes, Natural History, and Nevertheless-Life Painting. Chicago: Academy of Chicago Press, 2010. ProQuest Ebook Central.
• Lambraki-Plaka, Marina (1999). El Greco-The Greek. Kastaniotis. ISBN 960-03-2544-8.
• Marchetti Letta, Elisabetta, Jacopo Da Pontormo, and Rosso Fiorentino. Pontormo, Rosso Fiorentino. The Library of Great Masters. Antella, Florence: Scala, 199
• Marías, Fernando. 2003 "Greco, El." Grove Art Online. 2 April 2019. http://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000034199.
• Mirollo, James V. 1984. Mannerism and Renaissance Poesy: Concept, Fashion, Inner Design. New Oasis: Yale University Press. ISBN 0-300-03227-vii.
• Nichols, Tom. Tintoretto : Tradition and Identity. London: Reaktion, 1999.
• Shearman, John Grand. G. 1967. Mannerism. Style and Civilization. Harmondsworth: Penguin. Reprinted, London and New York: Penguin, 1990. ISBN 0-14-013759-9
• Olson, Roberta J.K., Italian Renaissance Sculpture, 1992, Thames & Hudson (World of Art), ISBN 9780500202531
• Smart, Alastair. The Renaissance and Mannerism in Northern Europe and Spain. The Harbrace History of Art. New York: Harcourt Brace Jovanovich, 1972.
• Smyth, Craig Hugh. 1992. Mannerism and Maniera, with an introduction past Elizabeth Cropper. Vienna: IRSA. ISBN three-900731-33-0.
• Summerson, John. 1983. Architecture in Britain 1530–1830, 7th revised and enlarged (3rd integrated) edition. The Pelican History of Art.

Harmondsworth and New York: Penguin. ISBN 0-14-056003-iii (cased) ISBN 0-xiv-056103-10 (pbk) [Reprinted with corrections, 1986; 8th edition, Harmondsworth and New York: Penguin, 1991.]

• Stokstad, Marilyn, and Michael Watt Cothren. Art History. 4th ed. Upper Saddle River, NJ: Pearson/Prentice Hall, 2011.

Farther reading [edit]

• Gardner, Helen Louise. 1972. The Metaphysical Poets, Selected and Edited, revised edition. Introduction. Harmondsworth, England; New York: Penguin Books. ISBN 0-14-042038-10.
• Grossmann F. 1965. Between Renaissance and Baroque: European Art: 1520–1600. Manchester Metropolis Art Gallery
• Hall, Marcia B . 2001. After Raphael: Painting in Central Italia in the Sixteenth Century, Cambridge University Printing. ISBN 0-521-48397-ii.
• Pinelli, Antonio. 1993. La bella maniera: artisti del Cinquecento tra regola east licenza. Turin: Piccola biblioteca Einaudi. ISBN 88-06-13137-0
• Sypher, Wylie. 1955. Iv Stages of Renaissance Style: Transformations in Art and Literature, 1400–1700. Garden Metropolis, Northward.Y.: Doubleday. A classic analysis of Renaissance, Mannerism, Baroque, and Late Baroque.
• Würtenberger, Franzsepp. 1963. Mannerism: The European Style of the Sixteenth Century. New York: Holt, Rinehart and Winston (Originally published in German, every bit Der Manierismus; der europäische Stil des sechzehnten Jahrhunderts. Vienna: A. Schroll, 1962).

External links [edit]

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Wikiquote has quotations related to: Mannerism

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

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Source: https://en.wikipedia.org/wiki/Mannerism

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