Mannerism
- 1. Mannerism and the Later 16th Century in Italy Sandrine Le Bail AP Art History
- 2. 16th century in Europe Francis I in France 1527 Sack of Rome
- 3. Main events • 1517 – 95 Theses of Martin Luther • 1520 – Death of Raphael • 1527 - Sack of Rome
- 4. Mannerism • Emerged in 1520’s • In reaction to the High Renaissance style of Leonardo or Raphael • Main feature: artifice
- 5. New Subjects matters • Still live - Inanimate objects • Genre Painting – Scene of everyday life
- 6. Patrons • Court / wealthy patron • Sophisticated messages • Highly complex and difficult to decipher • Intellectual
- 7. Artists Writers • Benvenuto Cellini, Autobiography, 1558-1562 • Giorgio Vasari, Lives of the most excellent painters, sculptors and architects ( 1550, updated 1568) • Andrea Palladio, Four books on Architecture (begun 1570)
- 8. Main Mannerist Painters • Jacopo da Pontorno • Antonio Correggio • Parmigianino • Agnolo Bronzino
- 16. Raphael, The deposition, 1507
- 17. Jacopo da Pontormo, Entombment, 1525-1528 • Oil on wood • For the church of Santa Felicità • No focal point – Hole in the center of the circular composition • High keyed colors • No ground line • Linear bodies twisting around one another
- 18. Parmigianino, Self Portrait in a convex mirror, 1524
- 19. Parmigianino, Madonna of the Long Neck, 1535 Figura Serpentina: twist of the body
- 20. Parmigianino, Madonna of the Long Neck, 1535 Figura Serpentina: twist of the body Raphael, Madonna and the Goldfinch
- 23. Parmigianino, Madonna of the Long Neck, 1535 - Deliberately imbalanced composition - Enigmatic row of columns - Elongated bod - Disproportion between the upper part of the body and the lower part
- 25. Time Folly Fraud or Vanity Masks = Falseness Envy? Syphilis? Fury ? Truth? Cupid Venus Dove = Love
- 26. Agnolo Bronzino, Venus, Cupid, Folly and Time, 1545 • Commissioned by Cosimo de’ Medici of Florence as a gift to Francis I • Complicated allegorical structure – Multiplicity of meanings • Complex imagery and poses • Figures in a congested composition, pushed to the forefront of the picture plane
- 27. Characteristics of the style • Twisted and elongated figures • Asymmetrical and unbalanced compositions • Lack of a clear focal point • Unusual representations of traditional themes • Strident palette • Ambiguous space • Use of expressive hand gestures
- 28. Mannerist Sculptors • Benvenuto Cellini (1500-1571) • Giambologna = Jean de Boulogne = Giovanni Bologna (1529-1608)
- 29. Mannerist sculpture: No primary point Michelangelo, David, 1501-1404 Cellini, Perseus and the head of Medusa, 1554
- 30. Benvenuto Cellini, saltcellar of Francis I, 1543.
- 35. Characteristic of Mannerism Sculpture • Elongation of the figures • Intertwining figures • Lot of negative space • Crowded composition • Viewers have to examine the details to understand the whole
- 36. Giulio Romano, The Palazzo del tè, 1525-1535, Mantua Commissioned by Federigo Gonzaga. Horse farm and villa
- 37. Courtyard facade
- 39. Giulio Romano, sala dei Giganti, 1530-1452 Battle between the Gods and the Titans
- 45. Counter Reformation Council of Trent 1545 and 1563
- 46. Art according to the Council of Trent Art should : • be didactic • be ethically decent • be accurate in its treatment of religious subjects • appeal to emotion and not to reason Themes: • Parallels between Old and New testament • Less Classical themes
- 47. Inquisition
- 48. Paolo Veronese, Last Supper (Christ in the House of Levi), 1573
- 52. Jacopo Tintoretto, Last Supper, 1592- 1594
- 56. Jacopo Tintoretto, Last Supper, 1592- 1594 - Powerful diagonal - Christ in the center but seems far - Elongated figures - Light reveals flying angels - Light casts long shadow - Many details of everyday life - No action
- 57. El Greco, Christ Healing the blind, c.1577
- 58. El Greco, Burial of the Count of Orgaz, 1586- 1588 Church of Saint Tomé, Toledo, Spain for Orgaz’s burial chapel
- 59. Heaven Earth Saint Stephen Saint Augustine Orgaz Mary Saint Peter Jesus
- 60. El Greco, Burial of the Count of Orgaz, 1586-1588
- 63. El Greco, Burial of the Count of Orgaz, 1586-1588 - Mannerist use of space - Combination of Venetian color, Spanish mysticism and mannerist elongation - Painting divided in half: bottom is the somber Earth, above the ecstatic heaven.
- 64. Late 16th- Century Architecture
- 65. Andrea Palladio (1508-1580) Wrote the Four Books of Architecture Influenced by Greek and Roman Architecture Synthesis between elements of Mannerism and ideals of High Renaissance
- 66. Palladio, Villa Rotonda, Vicenza, 1567- 1569 Used as a working farm, family estate, villa retreat
- 67. Palladio, Villa Rotonda, Vicenza, 1567- 1569
- 68. Palladio, Villa Rotonda, Vicenza, 1567- 1569
- 69. Low dome like Antiquity with an original occulus
- 70. Andrea Palladio, Saint Giorgio Maggiore, Venice, begun 1565
- 73. Il Gesù, Roma • Jesuit order founded by Ignatius of Loyola in 1540 • Decision to build the head church in the center of Rome • Architects: Giacomo Vignola, then Giacomo della Porta • Patron: Alessandro Farnese • reflects the Counter Reformation concerns
- 74. Giacomo da Vignola, plan of the Church of Il Gesù, 1565-1573
- 75. Giacomo da Vignola and Giacomo della Porta, Il Gesù, Roma, 1575-1584
Editor's Notes
- #3: Great empire of Charles V
- #14: Florence, Santa Felicità Hole in the center of the compositions Contorted body of Jesus Influence of Michelangelo Pink blue colour Juxtaposition of agitated women and starring men Colour of the sky and colour of the cloth Elongated bodies / Linear bodies No ground line
- #19: 21 years old To impress popoe Clement VII Hand bigger and convex background
- #20: Oil on wood Uffizi Odd spatial juxtapositionas Non classical proportions Short in the upper part / long in the lower part Old testament prophet
- #21: Oil on wood Uffizi Odd spatial juxtapositionas Non classical proportions Short in the upper part / long in the lower part Old testament prophet
- #24: Oil on wood Uffizi Odd spatial juxtapositionas Non classical proportions Short in the upper part / long in the lower part Old testament prophet
- #25: National Gallery London From Cosimo I to Francis I Bronzino studied under Pontorno Folly throw flowers Mask – falseness / Doves – love
- #26: Fraud – honeu comb and lezard – she is an animal
- #27: National Gallery London
- #31: Cellini = goldsmith and sculptor Always in trouble : murdered Very complex iconography Neptune and boat _ Salt
- #32: Mother Earth and arch - pepper
- #33: Bargello Importance of space and lot of negative space Thin, Sense of motion Reflection of the light Multitude of view points
- #34: Sculptured as a set piece Spiral movement Must be seen in a round Lot of negative space Symbolism of the Medici – taking Florence from the preceding governement
- #38: Unsettling architcetural setting More animated and disruption of the classical proportions Heavy rustication Architrave too thin Triglyphs dip into the cornince, creating holes above Pediemnet corner don’t meet Mocks of the traditional forms of Western architecture Unequal bays Massive columns carry almost no weight, a narrow cornice Keystones popes out of the arches Highly unusual placement of arch below a pediment
- #40: Rebellion against the rules Classical architecture collapse
- #42: UnderJupiter’s temple Swirlingcloud formations Monumental twisting figures
- #46: Creation of the Jesuits Denunciation of Lutheranism and reaffirmation of the Catholic doctrine Better education to priests and reassert papal authority beyond Italy Inquisition in Rome
- #48: Established in 1232 by emperor rederick II Goal: Identify, convert and punish Heretics In Rome inquisition censor works of art
- #49: Real Name : Paolo Caliari, from Verona Worked in Venise Problem with Inquisition because of Naturalism and distraction Has to alter the painting
- #51: Dresses like Venitian people From all over the world
- #53: From Venicts 2 light Wornh linear perspective Daily life elemeny
- #56: Christ gives the eucharisty to Peter
- #58: Domenikos Theotokopoulos – worked in Spain for Church and not court Realized in Italy / still High renaissance trend Most mystical painter Knew Titian’s workshop Mystical fervor in Spain
- #59: Orgaz died 300 years before the painting was painted Directly on his tomb Great Philantropic . Saints descend to heaven to bury him
- #63: 1578
- #64: Orgaz died 300 years before the painting was painted Directly on his tomb Great Philantropic . Saints descend to heaven to bury him
- #66: Most important architect of his generation Large influence on 18th century architect in GB and US
- #67: 4 identical façade High podium: Importance of the pediment Theatrical
- #68: 4 facades / Importance of the landscape
- #69: Symmetrical Central plan Rotunda 4 larger rooms and 4 smaller
- #72: More mannerism than the Villa Rotunda
- #73: Clearly lir
- #75: Difference with Renaissance churches – latin cross / Large space for more people Short transepts Side chapels Large barrel vault Light from the dome No aisles for grand ceremonies
- #76: Complex façade Engaged columns Imposing / Tall Volutes Columns grouping emphasize central doorway Tymapna above door 2 stories unified by scrolls Columns and pilaster