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Mannerism, Spirituality, and Cognition; the Art of Enargeia

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Mannerism, Spirituality, and Cognition; the Art of Enargeia Mannerism, Spirituality, and Cognition This book employs a new approach to the art of sixteenth-century Europe by incorporating rhetoric and theory to enable a reinterpretation of elements of Man- nerism as being grounded in sixteenth-century spirituality. Lynette M. F. Bosch examines the conceptual vocabulary found in sixteenth- century treatises on art from Giorgio Vasari to Federico Zuccari, which analyzes how language and spirituality complement the visual styles of Mannerism. By exploring the way in which writers from Leone Ebreo to Gabriele Paleotti describe the interaction between art and spirituality, Bosch establishes a religious base for the language of art in sixteenth-century Europe. The book will be of interest to scholars working in art history, Renaissance stud- ies, religious studies, and religious history. Lynette M. F. Bosch, State University of New York Distinguished Professor and Chair, Art History Department, SUNY, Geneseo. Visual Culture in Early Modernity Series Editor: Kelley Di Dio, University of Vermont A forum for the critical inquiry of the visual arts in the early modern world, Visual Culture in Early Modernity promotes new models of inquiry and new narratives of early modern art and its history. The range of topics covered in this series includes, but is not limited to, painting, sculpture, and architecture as well as material objects, such as domestic furnishings, religious and/or ritual accessories, costume, scientific/medical apparata, erotica, ephemera, and printed matter. For a full list of titles in this series, please visit www.routledge.com/Visual-Culture- in-Early-Modernity/book-series/ASHSER2107 Thresholds and Boundaries Liminality in Netherlandish Art (1385–1550) Lynn F. Jacobs Images of Sex and Desire in Renaissance Art and Culture Edited by Angeliki Pollali and Berthold Hub Art and Reform in the Late Renaissance: After Trent Edited by Jesse M. Locker Artistic Circulation Between Early Modern Spain and Italy Edited by Kelley Helmstutler Di Dio and Tommaso Mozzati Architectural Rhetoric and the Iconography of Authority in Colonial Mexico: The Casa de Montejo C. Cody Barteet Women’s Patronage and Gendered Cultural Networks in Early Modern Europe Vittoria della Rovere, Grand Duchess of Tuscany Adelina Modesti Mannerism, Spirituality, and Cognition The Art Of Enargeia Lynette M. F. Bosch Mannerism, Spirituality, and Cognition The Art of Enargeia Lynette M. F. Bosch First published 2020 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 52 Vanderbilt Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2020 Lynette M. F. Bosch The right of Lynette M. F. Bosch to be identified as author of this work has been asserted by her in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing-in-Publication Data A catalog record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data A catalog record has been requested for this book ISBN: 978-1-409-44218-9 (hbk) ISBN: 978-1-003-01064-7 (ebk) Typeset in Sabon by Integra Software Services Pvt. Ltd. For Liana De Girolami Cheney, Charles Burroughs, Paul Barolsky, and Larry Silver In Memoriam Janet Cox-Rearick and H. Wiley Hitchcock They embodied the best of an American intellectual tradition of art, music, books, and the pursuit and transmission of knowledge. Contents List of figures viii Acknowledgments ix Prologue: mannerism (a personal history) x Introduction: approaching mannerism 1 1 From the ars nova to the maniera moderna 6 2 From lifelike to living: enargeia and the maniera moderna 26 3 Enargeia, spirituality, and maniera: From St. Paul to Vasari 37 4 From Leone Ebreo to Federico Zuccari: God’s plan for art 52 5 Maniera: a history 72 Conclusion: mannerism, mysticism, and cognition 116 Selected Bibliography 133 Index 141 Figures I.1 Pontormo, Jacopo (1494–1556/7). The Supper at Emmaus. 1525. Oil on canvas. 90 ½ × 68 1/8 in. (230 × 173 cm) 3 I.2 Albrecht Dürer, Supper at Emmaus, c. 1510, from the Small Passion 4 C.1 Duccio (di Buoninsegna) (c. 1260–1319). The Last Supper. Panel from the back of the Maesta altarpiece. Museo dell’Opera Metropolitana 120 C.2 Leonardo da Vinci (1452–1519). The Last Supper. 1498. Post-restoration. S. Maria delle Grazie 121 C.3 Massacio (Maso di San Giovanni) (1401–1428). The Trinity, fresco, full view. c. 1425. Post-restoration. S. Maria Novella 123 Acknowledgments The funding for this book began with a Franklin Research Grant from the Ameri- can Philosophical Society (2004) and continued with additional research support from the Geneseo Foundation, SUNY Geneseo, from 2006 to 2018. I thank Erika Gaffney for her patience and her faith in my ability to complete the manuscript, when she was at Ashgate. I especially thank Katie Armstrong, at Routledge, for her patience and for her editorial assistance. For numerous discussions and personal support over many years on the topic of Mannerism, I thank, Diane Ahl, Paul Barolsky, Deborah Berendt, Judith Berg Sobré, Mary Bergstein, Tina Waldeir Bizzarro, Laura Blanco, Charles Burroughs, Gregory Clark, Janet Cox-Rearick, Mark Denaci, Liana De Girolami Cheney, Susan Duncan, Conchy Fajardo-Hopkins, Mary Gibbons, Cristiano Giometti, Karen Goodchild, George Gorse, Steve Hord, Maddu Huacuja, Fredrika Jacobs, H. Wiley Hitchcock, William Hopkins, Thomas Jackson, Randy Barbara Kaplan, Dorothy Limouze, Tom and Linda MacPherson, Norberto Massi, Jessica Maratsos, Anne Matthews, Catherine Mayes, Leatrice Mendelsohn, Rick Morales, Fred and Miranda Orton, Maureen Pelta, Robert Penzer, Ann Priester Towne, Bianca Potterton, Naomi Sawelson, Larry Silver, Ellen Shortell, Beryl, Dave, Jon, Will and Celeste Stroll, and Adrian Wilson. In the trajectory of my scholarly career, it was Liana De Girolami Cheney, who thought that I had something worthwhile to say about Mannerism. Paul Barolsky and Larry Silver never failed to read my early essays. Larry was always there with his ready eye and quick ability to point out where I should zig instead of zag. Paul stopped me many times from going off cliffs. Maureen Pelta and Tina Waldeier Bizzarro have always been there throughout the process of the work that led to this book, and without their support and belief in my ability to complete it, I might not have done it. I owe gratitude above all to Charles Burroughs, my husband and friend, who has been consistently loving, supportive, and constructively critical. He has unselfishly devoted many hours of his own creative time to discussing my work and ideas, always with joy and interest, as he has tirelessly accompanied me to museums, churches, libraries, and archives in the pursuit of Mannerism. Writing this book with him at my side has been a profound experience, as we have traveled, learned, and grown together. I could ask for no more of an ideal husband and partner and it is above all to him that this book is dedicated as a reflection of our life together. This book is dedicated to Charles, to Liana de Girolami Cheney, to Paul Bar- olsky, and to Larry Silver without whom it would not have been written, as they persisted for eight years in telling me to ‘Get the damned book done!’ Prologue Mannerism: A personal history This book has been a long time coming. I first became interested in Mannerism, in 1976, while taking a Research Methods seminar from Janet Cox-Rearick at Hunter College, CUNY. The seminar’s topic was Agnolo Bronzino and Mannerism. Many projects later, I return to Mannerism. The trajectory leading to this book originated with a series of talks, given from 2001 to 2019, at conference sessions organized by Liana de Girolami Cheney.1 ‘Mannerism and Spirituality’ was the subject of the first talk in the series, given in 2001, at a meeting of the Sixteenth Century Studies Conference. An interest in Giorgio Vasari led, in 2005, to a talk entitled, ‘From Vasari to Now: What Does Iconography Mean Today?’ given at the Renaissance Society of American conference in Cambridge, U.K. It was, however, in 2007, with a talk entitled, ‘Mannerism, Orthodoxy and Het- erodoxy,’ presented at the Sixteenth Century Studies Conference, that the germ of this book began to form. Continuing this train of thought led to an expanding understand- ing of Mannerism forwarded in: ‘Mannerism and Spirituality: The Artist as Alternate Priest’ (Renaissance Society of America, 2009); ‘Altered States of Mannerism: From the Spiritual to the Erotic to the Courtly’ (Sixteenth Century Studies Conference, 2009); ‘Mannerism and Cognition’ (Sixteenth Century Studies Conference, 2010); ‘Vasari and God’ (Renaissance Society of America, 2011), and ‘God in his Heaven and in Vasari’sLives’ (Heavenly Discourses Conference, Bristol, England, 2011). Following was ‘Counter-Reformation Style and Spirituality: Juan de Valdes, the Spirituali and Juseppe de Ribera’ (Renaissance Society of America, 2012). In 2018, I gave ‘From the Ars Nova to the Maniera Moderna: Alberti To Vasari’ (Sixteenth Century Studies, Albuquerque). In 2019, came the last talk in the series prior to the publication of this book, ‘Before 1962: Mannerism and Historiography’ (Renaissance Society of American Conference, Toronto, Canada). I am deeply grateful to Liana De Girolami Cheney, for her support for this project, which would not have been completed without her indefatigable organization of the scholarly conferences, in which she included me.
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