Mannerism





Painting- Mannerism in Florence and Rome
- considered to be more self- consciously "artificial"
- derived from aspects of Raphael and Michelangelo
- cold formalism was considered to be inner vision
Rosso
- (1494-1540), Italian painter, whose early works helped define Italian mannerism
- later was a founder of French mannerism
- was born Giovanni Battista di Jacopo di Guasparre in Florence
- early work had odd perspectives, violent colors, and harsh lighting
- 1523 Rosso moved to Rome, where he was influenced by Italian artist Michelangelo and Italian mannerist painter Parmigianino
- work then acquired new beauty and expressed more tempered emotions
Pontormo
- (1494-1557), Italian painter, whose style is marked by elongated forms, heightened emotion, and tension between figures and space
- Born in Pontormo, he worked chiefly in Florence
- initially assisted Florentine painter Andrea del Sarto and later did much work for the ruling Medici family.
Parmigianino
- (1503-1540), Italian painter and etcher, whose work is among the most graceful and elegant of the school of mannerism
- born Girolamo Francesco Maria Mazzola, or Mazzuoli, in Parma
- influenced by Italian painter Correggio and Roman painter Raphael
Self Portrait
- looked through a mirror as done before in previous times
- used leonardo\'s type of sfumato
- hand is much bigger than reality of it
Bronzino
- (1503-1572), Italian painter, the outstanding artist of the Tuscan High Mannerist style
- produced portraits and religious pictures
- style is cold, refined, aristocratic, and technically brilliant in its rendering of surface details and colors
- display the typical mannerist characteristics of elongated forms and crowded, angular compositions
Eleanora of Toleda and her Son Giovanni De\'Medici
- sitter appears as a member of social outcast
- not as much as unique personality or individualistic
- lavishly ornate costume
Anguissola
- (1527-1625), Italian painter, who specialized in portraits and was an important role model for other female Italian artists
- Born in Cremona, Anguissola was the eldest and best known of six sisters, all of whom were artists
- early works were mostly self-portraits and portraits of her family
Portrait of the Artists Sister Minerva
- said that her best work was of relatives
- intimate, charming portraits
Mannerism in Venice
Tintoretto
- (1518-1594), Venetian painter, one of the foremost artists of the late 16th century
- studied briefly with Venetian master Titian and also studied the works of Florentine mannerist painters Michelangelo and Jacopo Sansovino
- incorporated these artists\' different techniques, with striking results, in his paintings of the 1540s
- spatial illusions, and intense colors to create an impression of action
- later intensified his style, with techniques such as contrasts of brilliant light and cavernous dark that made color relatively insignificant, eccentric viewpoints, and extreme foreshortening to heighten the drama of the events portrayed
-smoke from oil lamp turns into clouds of angels
-Christ offers bread and wine as body and blood, to the apostles
-Judas is seen on the far side, can be confused with an attendant
El Greco
-greatest mannerist painter, named Domenikos Theotocopoulos, El Greco
-came to Venice to learn from Michelangelo, Raphael, and Central Italian Mannerists
- never forgot his Byzantine background, signed his name in Greek
Burial of Count Orgaz
-El Greco, 1586
-In church of Santo Tome-St. Augustine and St. Stephen and Angels at the funeral
- Sweeping flamelike action toward Christ, heavenly-bottom, formal, stiff, and settling
- below it, there is a sarcophagus, showing the intombment of the count
- There are 3 levels of reality shown, the heavens, the burial, and the actualsarcophagus
Veronese
- (1528-1588), Italian Renaissance painter, one of the great masters of the Venetian School
- Born Paolo Caliari in Verona, he was called Veronese for his native city
- combined elements of the local High Renaissance style with elements of mannerism, including complex compositional schemes that often employ a so-called worm\'s-eye view perspective
- used figures reminiscent of those of Italian artist Michelangelo, rendered in powerful foreshortened or contorted poses
- blended brilliant, luminous contrasting hues in the Veronese tradition
- compositions often involve multileveled settings and dramatically steep perspectives, especially effective in the ceiling paintings
- three levels of reality can be found
- the grave itself, set into the wall at eye level and closed by an actualstone slab
- the contemporary re-enactment of the miraculous burial
- vision of celestial glory witnessed by some participants
- This painting was very much like Masaccio’s "trinity" mural
- El greco’s venetian training came is mastery of portraiture, "Fray FelixHortencio Paravicino"
Proto Baroque
- El Greco’s fame is greater now than ever before
Corregio
- (1489/94-1534) Most important representative of the proto baroque style
- " the assumption of the