DOCSLIB.ORG

Mannerism, Has a Modern-Day Counterpart

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mannerism, Has a Modern-Day Counterpart The most misunderstood of movements in Architecture, Mannerism, has a modern-day counterpart. lt is not Post-Modernism, but rather, A NEW MANNERISM, which like Mannerism, is elusive and seen as a CRISIS. Is it? oy William Mark Pimlott IHJ!iom Mori( Pimlott (s a Jtudent architect working in the \.fontreal office of Peter Rose. CRISIS. 1lie are led ;:o believe, tn this was an atti;ude which addresses any of these specific resuJ;s 11.ilen normally orderea attemptea to 'diStort' or change the categories, rather, it addresses the lnso:itutaons and activi~ies rules a! Renaissance archltecture. It nebulous concept of 'Post-Modernism'. A to define a become helplessly out of controL lt is only :oo evident, in light of It is thus necessary begms "Grith a quaet rum!>le, but .such discussions of contemporary common ground within which thrusts rumblings tend to be L'lfectuous and architecture. that current practitioners of the cntlcal sword may be parried. anvaraably, grow to be of epic:emic of the art argue for similar change as The particular difficulty lies In the proportions or tnfluence. well. fact that Post-Modernists, if one may pardon the expression, are reluctant to Archltec tural historians tell us of Judgmg by the widespread attention admit that such a common ground The various camps seem so numerable crases, the most notorious given to these arguments by various exists. beit\g, perhaps, the Mannerist cr1sis. jCllJtTlaiS of architecture, lecture series rigadly defined and so diametrically Architec:s were supposedly ard panel discussaons, :hetr acceptance opposed, that such ground appears to self ·Indulgent, blissfully ignorant of has reached 'epidemic' proportions. be shaky. However, I share the Renausance dogmae whtch they were However. there remain many voices opanion that all of this work a 'blasphe:nmg'. ~ might say that who cry 'crisis'. Their greate~t represents a Mannerism of sorts · ~rism was a 'popular' activity, an concern is a perceived rejection of 'New Mannerism'. A brief outline of animal borne of popular culture. Such serious architecture and its the characteristics of Mannerism (via beasts are traditionally destined for replacement by popular architecture or illummations from Frederic Hartt and derision, probably because, in worse, Post-Modern Architecture. John Shearman), as well as an attempt hind sigh c. tf1ey are seen to be at a comparative parallel with current contradictory or detrimental to 'Post-Modernism', as such, does not movements, should begin to breach the society's more senous culture. For eX!St at all. except in the minds of gaps. years, lanneris: architecture has been devout lodernists, Neo-Ratlonalists Briefly, Mannerists seemed to seek and spoken of with dtsfavour because of and a few outspoken individuals. lt achieve: 1ts 'pop culture' leanings. ln !act, the has been a convenient umbrella phrase a. varieta (the human pleasure derived maJority o! ,..ork caJied '\lannerist' which throws all architectural from variety) as a rejection of was extremely good. It has been the movements into one rather murky Renaissance invarieta Oogic, order and selected removal of excellent broth. Consequently, those placed in the Platonic absolutes) architects from that clusification, and that group voice their dissatisfaction b. a mannered re-interpretation of their placement elsewhere (Late whenever Post-Modernism is what had preceeded - Renaissance or Renaissance, etcetera), that has let mentioned. They certainly do not otherwise • in architectural or artistic Mannerism wallow so long in the wish to be associated with anything so expression (achieved through what amab of popular culture. amorphous, and many find difficulty many call distortion and a few with populism. Seeing very few describe as the 'humanising' of As voe saw ( ~annensm, The Fifth similantles to each other, they have Renaissance composition, detail and ~ Column, vol.!, no.ll), Mannerists placed themselves, or have been colour) i concerned themselves with a search placed mto many categories, few of c . an architecture whtch was vastly fi for pleasure through variety: of form, which are particularly meaningful. more personal, yet more public expression, space and colour. Included Cra tlcism of Post-Modernism never oriented, than ever before (a popular ~ t: ~ ==============================~j THE~==~================== FIFTH COLUMN, FaH 1981 20 John f-IE.jduk , Bye House; Robert Venturi, Bront-Johnson House; Alon Greenberg, ·N.ount Vemon! architecture for 'a more cultured age'). Corbusier, particularly the early methode, Venturi, Charles '1-ioore, Ensuing from this were unusual period. This enclave began in the late Robert A.• \.\. Stem and many others, containments and proportional 1960's as 'The New York Five': all peddle this notion in varying inversions (Laurentian Library, Charles Gwathmey, Richard Meier, directions and degrees of intensity. Michelangelo); humourous distortions John Hejduk, Peter Eisenman and Their position has caused a tremendous and manipulations of architectural Michael Graves. When the monograph st1r - both in North America and detail, and 'fantasy' spaces (Palazzo "Five Architects" was released, there abroad. lt has borne most of the del Te, Guilio Romano); fragile was a definite distortion of Corb's vituperous commentary from layer-on-layer classicism (Palladio); white work. In Gwathmey's case, Modernists, the Whites and some, like and a few extreme distortions - with Corb was filled out more, becoming Stanley Tigerman, who draw abuse mixed results (Casmo dello Zuccheri, more volumetric - rigid external forms from those who are just a shade of Frederico Zuccheri). were more or less maintained. Meier y:ey apart from him. The Rationalists modeled his efforts on Corb's earliest in Europe say even worse things. This Mannerism was that creature borne of work (Villa Savoy), but has produced exchange is known as Rationalist vs. some muscle flexing following a long caricatures of it in a bitterly Realist: where Maurice Culot calls period of order and restraint; antiseptic series of projects. Hejduk Charles Moore "Mickey Mouse". flux within a period ot trans1t1on. has expanded on Corb's sculptured However, past all the abuse and Many have cried 'crisis' with respect volumes within the grid through mudslinging from within and without, to it, and there are those who stilJ multiplications (the curvy rooms there remains one common thread do. In "Mannerism" (The Fifth increase in number Like rabbits), by rOnning t'lrough the work of the Column, vol.l, no.4) I forwarded the taking these volumes out of the Realists - it 1s American (and objecting notion that the Mannerist context of the grid and letting them Americans like fun). The Europeans Crisis was not a crisis at all. The hang in space as independents. howl alot about this. conclusion was based upon the fact Eisenman's work bears little that Mannerist architecture did not resemblance to Le Corbusier's and can iii. The Classicists reject the principles of a 'Good only be described as an abstraction of Architecture'. That its expressions, some notions that he is preoccupied These are simply the architects who derived from the creative, personal with (rotation and translation). lt is presently carry on a classical tradition instincts of each artist did not harm an mtensely personal exerc1se, meant in archne<:ture and urban plannmg. the art, but, rather, enhanced it for no-one but himself. lt seemed, ~ this group are Alan Greenberg, through the liberation of ideas. too, that before \1ichael Graves \1ichael Graves, QumJan Terry, Leon developed into a classicist of sorts, a Krier and ~1aurice Culot. Sometimes The new Architecture makes similar fixation with both early and later included is Robert Venturi, and many gestures. Its na.ture of multiplicity of Corb existed, utterly concluded by the would wish to posthumously include Sir thought makes the perception of its Snydermann House, which appears to Edwin Lutyens. They seek variety in purpose so difficult, and conversely, be rather a lot like the blob in the architecture in the sense perhaps allows criticism of it based on its gilded cage. closest to the Mannerists - through capnc1ousness so easy. A category, simple pleasures to be denved from which represents a group of ideas, i1. The Greys details, colour, proportion and planning makes multiplicity coherent. The new gestures. Architecture, defined in the context of Robert Venturi pioneered the Greys' \1annensm can therefore begm to search for varieta, when he forwarded B. MANNERED RE.INTF.RPRET ATION become so. the statements "I like complexity and contradiction in architecture" and i. The Wh1tes a. VARIETA "Less is a bore". Without "Complexity and Contradiction" there would be no lt almost goes unsaid that each There is indeed a new varieta although broohaha, no fighting between Whites headstand that is done in order to it is seen in many different ways by and Greys nor amongst Greys; for achieve that variety we have spol<en the Whites, the Greys and the that matter, there would be no such of, must be, within this White Neo-ClasSICISts. ttung as a 'Post-Modem Cns1s'. While Theatre, nurtured by the form-giving there are those who seek genuine Le Corbusier. Either a direct i. The Whites American architecture (again), a more quotation or a contortion of th~se publicized group searches for that forms constitutes a reinterpretation of These architects are profoundly same goal through the roots of popular them. Each architect's personal influenced by the work of Le culture. The proponents of this translation is an idiosyncrac y - a 21 THE FIFTH COLUMN, Fall 1981 VITRUVIUS : FIRMITAS , UTI LITAS , VfNUSTAS result tn work that is weU received \VHAT IS GOOD ARCHITECTURE? and enjoyed. And, if the expression is U. The Greys related to a signilicant segment of the A list of criteria which has always historical continuum, then its appeal q.Jalified the above query is that given 1: is from the interpretation of will acqurre a stature of permanence, to us by Vitruvius: UTILITAS, hlstortcal forms that the Greys have and 1ts 'personal and private' nature FIRMITAS and VE:'IIUSTAS, or rece:ved such wide attention and at will become Insignificant.
Load more

Recommended publications
  • THE LATE RENAISSANCE and MANNERISM in SIXTEENTH-CENTURY ITALY 591 17 CH17 P590-623.Qxp 4/12/09 15:24 Page 592
    17_CH17_P590-623.qxp 12/10/09 09:24 Page 590 17_CH17_P590-623.qxp 12/10/09 09:25 Page 591 CHAPTER 17 CHAPTER The Late Renaissance and Mannerism in Sixteenth- Century Italy ROMTHEMOMENTTHATMARTINLUTHERPOSTEDHISCHALLENGE to the Roman Catholic Church in Wittenberg in 1517, the political and cultural landscape of Europe began to change. Europe s ostensible religious F unity was fractured as entire regions left the Catholic fold. The great powers of France, Spain, and Germany warred with each other on the Italian peninsula, even as the Turkish expansion into Europe threatened Habsburgs; three years later, Charles V was crowned Holy all. The spiritual challenge of the Reformation and the rise of Roman emperor in Bologna. His presence in Italy had important powerful courts affected Italian artists in this period by changing repercussions: In 1530, he overthrew the reestablished Republic the climate in which they worked and the nature of their patron- of Florence and restored the Medici to power. Cosimo I de age. No single style dominated the sixteenth century in Italy, Medici became duke of Florence in 1537 and grand duke of though all the artists working in what is conventionally called the Tuscany in 1569. Charles also promoted the rule of the Gonzaga Late Renaissance were profoundly affected by the achievements of Mantua and awarded a knighthood to Titian. He and his suc- of the High Renaissance. cessors became avid patrons of Titian, spreading the influence and The authority of the generation of the High Renaissance prestige of Italian Renaissance style throughout Europe. would both challenge and nourish later generations of artists.
    [Show full text]
  • Mannerist Architecture and the Baroque in This Lecture I Want To
    Mannerist Architecture and the Baroque In this lecture I want to discuss briefly the nature of Mannerist architecture and then begin to consider baroque art. We have already paid some attention to Mannerist painting and sculpture; and have seen how in the work of painters like Rosso Fiorentino, Bronzino and Parmigianino; and sculptors like Giovanni Bologna and Cellini, that after 1527, classical forms came to be used in a spirit alien to them; each artist developing a highly personal style containing capricious, irrational and anti-classical effects. Although the term Mannerism was first applied to painting before it came to be used to describe the period style between 1527 and 1600; it is possible to find similar mannerist qualities in the architecture of the time. And again it is Michelangelo whose work provides, as it were, a fountainhead of the new style. Rosso’s Decent from the Cross, which we have taken as one of the first signs of Mannerist strain and tension in the High Renaissance world, was painted in 1521. Three years later Michelangelo designed his Laurentian Library,* that is in 1524. It was designed to house the library of the Medicis; and we may take it as the first important building exhibiting Mannerist features.* We can best consider these features by comparing the interior of the library with the interior of an early Renaissance building such as Brunelleschi’s S. Lorenzo. Consider his use of columns. In Brunelleschi they are free standing. When he uses pilasters they project out from a wall as you expect a buttress to.
    [Show full text]
  • Lesson 09: Michelangelo- from High Renaissance to Mannerism
    East Tennessee State University Digital Commons @ East Tennessee State University Art Appreciation Open Educational Resource 2020 Lesson 09: Michelangelo- From High Renaissance to Mannerism Marie Porterfield Barry East Tennessee State University, [email protected] Follow this and additional works at: https://dc.etsu.edu/art-appreciation-oer Part of the Art and Design Commons, and the History of Art, Architecture, and Archaeology Commons Editable versions are available for this document and other Art Appreciation lessons at https://dc.etsu.edu/art-appreciation-oer. Recommended Citation Barry, Marie Porterfield, "Lesson 09: Michelangelo- rF om High Renaissance to Mannerism" (2020). Art Appreciation Open Educational Resource. East Tennessee State University: Johnson City. https://dc.etsu.edu/art-appreciation-oer/10 This Book Contribution is brought to you for free and open access by Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Art Appreciation Open Educational Resource by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. “Michelangelo from High Renaissance to Mannerism” is part of the ART APPRECIATION Open Educational Resource by Marie Porterfield Barry East Tennessee State University, 2020 Introduction This course explores the world’s visual arts, focusing on the development of visual awareness, assessment, and appreciation by examining a variety of styles from various periods and cultures while emphasizing the development of a common visual language. The materials are meant to foster a broader understanding of the role of visual art in human culture and experience from the prehistoric through the contemporary. This is an Open Educational Resource (OER), an openly licensed educational material designed to replace a traditional textbook.
    [Show full text]
  • EH Gombrich, Review of Frederick B. Artz, from the Renaissance to Romanticism
    E. H. Gombrich, Review of Frederick B. Artz, From the Renaissance to Romanticism: Trends in Style, in Art, Literature and Music 1300 - 1830, History, Vol. 49, 1964, pp.130-2 [Trapp no.1964F.1] FROM THE RENAISSANCE TO ROMANTICISM: TRENDS IN STYLE, IN ART, LITERATURE AND MUSIC, 1300-1830. By Frederick B. Artz. University of Chicago Press. 1962. 311 pp. 37s. 6d. When classical learning was threatened with extinction some knowledge of past achievements was rescued through such compendia as Pliny's Natural History or Isidorus' Etymologies. Today we must hope for similar success from similar compendia while new and urgent topics are crowding out the memories of our civilization. The volume under review presents on its 287 pages of text a survey of 500 years of European architecture, painting, sculpture, prose, poetry, drama and music, mentioning close on 500 artists, authors and composers and giving such diverse information as the tradition of the ottava rima in poetry from Boccaccio to Wieland and the exact number of string quartets, piano, cello and violin sonatas (but not trios) composed by Beethoven. The scaffolding which is used by the author to accommodate this vast amount of material was erected by art historians in the nineteen twenties. It was then that the labels for styles - Renaissance, Mannerism, Baroque, Neo-C1assicism and Romanticism -were increasingly used to characterize historical periods, in the Hegelian conviction that a new style always heralds a new 'age', manifesting itself in all aspects of life. It must be said at once that the author does not hold with this assumption.
    [Show full text]
  • Mannerism and Baroque Art Questions
    Mannerism and Baroque Art Questions Go to the AP European History part of the website (http://mrdivis.yolasite.com/). On the left-hand side under “Age of Religious Warfare,” click on “Mannerism and Baroque Art PPT”. This is a slideshow of some of the most well-known artists and paintings from both the Mannerism and Baroque artistic eras. To answer the follow questions, scroll through the slides. 1. In El Greco’s Christ Driving the Traders from the Temple, how is this religious scene depicted different than in the Renaissance? 2. In your own words, how did Mannerism generally differ from Italian Renaissance art? 3. List the Baroque artists covered in the slideshow below: 4. Why was there not an overwhelming number of landscape paintings during the Baroque period? 5. Describe the work of Peter Paul Rubens in general. 6. Describe Rubens’ Glory of St. Ignatius of Loyola. How is St. Ignatius depicted? What is happening in the painting? 7. What does Rubens’ Glory of St. Ignatius of Loyola say about Rubens’ religious views and that of Baroque art in general? Explain. 8. What is symbolic about the subject and content of Rembrandt’s The Anatomy Lecture of Dr. Nicolaes Tulp? Explain. 9. In your opinion, why is Rembrandt’s Night Watch considered not just Rembrandt’s masterpiece, but also a symbol of the height of the Dutch Golden Age in the 17th century? 10. Explain what is unique about Jan Vermeer’s work. 11. How does Jan Vermeer’s Girl with a Pearl Earring compare to da Vinci’s Mona Lisa? 12.
    [Show full text]
  • The High Renaissance and Mannerism Free
    FREE THE HIGH RENAISSANCE AND MANNERISM PDF Linda Murray | 288 pages | 17 Feb 1985 | Thames & Hudson Ltd | 9780500201626 | English | London, United Kingdom History of Art:The High Renaissance, Mannerism The Mannerist style originated in Florence and Rome and spread to northern Italy and, ultimately, to much of central and northern Europe. The term was first used around the end of the 18th century by the Italian archaeologist The High Renaissance and Mannerism Lanzi to define 16th- century artists who were the followers of major Renaissance The High Renaissance and Mannerism. Mannerism originated as a reaction to the harmonious classicism and the idealized naturalism of High Renaissance art as practiced by Leonardo da VinciMichelangeloand Raphael in the first two decades of the 16th century. In the portrayal of the human nudethe standards of formal complexity had been set by Michelangelo, and the norm of idealized beauty by Raphael. The highest value was instead placed upon the apparently effortless solution of intricate artistic problems, such as the portrayal of the nude in complex and artificial poses. Mannerist artists evolved a style that is characterized by artificiality and artiness, by The High Renaissance and Mannerism thoroughly self-conscious cultivation of elegance and technical facility, and The High Renaissance and Mannerism a sophisticated indulgence in the bizarre. The figures in Mannerist works frequently have graceful but queerly elongated limbs, small heads, and stylized facial features, while their poses seem difficult or contrived. The deep, linear perspectival space of High Renaissance painting is flattened and obscured so that the figures appear as a decorative arrangement of forms in front of a flat background of indeterminate dimensions.
    [Show full text]
  • University of Oklahoma Graduate College
    UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE MUSICAL MANNERISM: A RECURRING STYLISTIC PHENOMENON IN KEYBOARD VARIATIONS BY J.S. BACH, BEETHOVEN, AND LISZT A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By CHARLES B. LAHAN JR. Norman, Oklahoma 2016 MUSICAL MANNERISM: A RECURRING STYLISTIC PHENOMENON IN KEYBOARD VARIATIONS BY J.S. BACH, BEETHOVEN, AND LISZT A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY ______________________________ Dr. Jane Magrath, Chair ______________________________ Dr. Paula Conlon ______________________________ Dr. Barbara Fast ______________________________ Dr. Judith Pender ______________________________ Dr. Frank Riddick © Copyright by CHARLES B. LAHAN JR. 2016 All Rights Reserved. TABLE OF CONTENTS LIST OF FIGURES ........................................................................................................... v ABSTRACT ..................................................................................................................... vi CHAPTER I: INTRODUCTION TO THE STUDY ........................................................ 1 Purpose of the Study ..................................................................................................... 3 Need for the Study ........................................................................................................ 3 Limitations of the Study ................................................................................................ 6 Design and Procedures
    [Show full text]
  • Kasper Collection Press Images
    PRESS IMAGES Mannerism and Modernism: The Kasper Collection of Drawings and Photographs January 21 through May 1, 2011 DRAWINGS 3. Maarten van Heemskerck (1498–1574) 1. 2. Susanna and Her Relatives Praising the Lord (Daniel Baccio Bandinelli (1493–1560) Giulio Romano (Giulio Pippi) 13:63), 1562 Head of a Woman Wearing a Ghirlanda (ca. 1499–1546) Pen and brown ink over black chalk with some of the Red chalk Cupid and Psyche and Other Figures, 1524–40 outlines incised; later addition of framing lines in 11 1/4 x 7 1/8 inches (28.6 x 18.1 cm) Pen and brown ink, brown wash brown ink Kasper Collection 8 1/2 x 7 1/8 inches (21.6 x 18.1 cm) 7 5/8 x 9 7/8 inches (19.3 x 25 cm) Kasper Collection Kasper Collection 4. 5. Paolo Veronese (1528–1588) Hans Hoffmann (1540/50–1591/92) Sheet of studies for The Consecration of David and for figures An Affenpinscher, 1580 and architecture at Villa Barbaro, Maser, ca. 1558–62 Watercolor and gouache on vellum Pen and brown ink. Laid down. 10 x 14 1/4 inches (25.5 x 36 cm) 8 7/16 x 12 1/4 inches (21.4 x 31.1 cm) Kasper Collection Kasper Collection 6. 7. 8 Giuseppe Cesari (il Cavaliere d’Arpino) Edgar Degas (1834–1917) Pablo Picasso (1881–1973) (1568–1640) Study for a Dancer Adjusting Her Glass and Bass Bottle on a Table, 1913 An Angel in Flight, ca. 1596–1599 Bodice, ca. 1897 Collage, wash, sawdust, and graphite pencil on Black and red chalk Charcoal cardboard 15 3/8 x 14 1/4 inches (39.1 x 36.2 cm) 18 1/2 x 10 1/4 inches (47 x 26 23 1/2 x 17 1/2 inches (59.7 x 44.4 cm) Kasper Collection cm) Kasper Collection Kasper Collection, Promised © 2010 Estate of Pablo Picasso / Artists Rights gift to The Morgan Library & Society (ARS), New York Museum 9.
    [Show full text]
  • Mannerism, Modernity and the Modernist Architect, 1920-1950
    Mannerism, Modernity and the Modernist Architect, 1920-1950 Dirk De Meyer Ghent University Author Posting. (c) The Journal of Architecture, 2010. This is the author's version of the work. It is posted here by permission of 'Copyright Holder' for personal use, not for redistribution. The definitive version was published in The Journal of Architecture, Volume 15 Issue 3, June 2010. doi:10.1080/13602365.2010.486565 (http://dx.doi.org/10.1080/13602365.2010.486565) Introduction Criticized for its artifice and stylization, and loaded with negative connotations as manieroso, the art of the sixteenth century nevertheless became, in the 1920s, a new historical and stylistic periodization and an intensely studied subject. Some aspects of that construction of Mannerism as a distinct category are intimately linked to the contemporary development of modernity, and modernism. Mannerism’s ‘discovery’ was closely related to pioneering developments in art and architecture. Furthermore, while Mannerist art was offering up captivating case studies, research on Mannerism adapted models from psychoanalysis, which was maturing in those same years and was crucial to understanding the structure of the modern self and of modern society. Finally, as we will show, the resulting image of the Mannerist architect was seminal in the styling of the figure of the new, modernist architect. Breaking up the Renaissance The creation of Mannerism was part of the fine-tuning of the historical and stylistic periodizations, of the gradual breaking up into distinguishable phases of that amorphous ‘classical period’ that for Jules Michelet, in Histoire de France (1855), and for Jacob Burckhardt, in Die Kultur der Renaissance in Italien (1860), had stretched from the dawn of the Renaissance to the eighteenth century.
    [Show full text]
  • Renaissance, Mannerism, Baroque
    Cambridge University Press 0521792738 - The Cambridge History of Seventeenth-Century Music Edited by Tim Carter and John Butt Excerpt More information · 1 · Renaissance, Mannerism, Baroque tim carter It is in the nature of historians of Western art-music to divide their reperto- ries by periods; it is also in the nature of music histories to begin with some disclaimer about the dangers of such periodisation. These disclaimers conven- tionally go along one or both of the following lines. First, a period never has a clearbeginningorend.Itwouldbeabsurdtoargue,say,thatanythingproduced before 31 December 1599 was ‘Renaissance’ and anything after 1 January 1600 ‘Baroque’; rather, there are always periods of transition when new currents start to bubble to the surface and older trends slowly disappear. Thirty or forty years either way will usually suffice, and may be further enshrined in period subdivisions (Early, Middle, High, Late). So, the Late Renaissance may some- how overlap with the Early Baroque, but by the time we get to the Middle or High Baroque, the Renaissance is well and truly over. Secondly, not everything that happens in a given period will necessarily contain all (or even some of ) the presumed characteristics of that period. Thus not all Renaissance music will be ‘Renaissance’ by any (narrow or broad) definition of the term, yet if the label is not to be meaningless save as some vague chronological marker, enough of the important music produced during the Renaissance period will indeed be somehow identifiable with the Renaissance in general. There, of course, lies the rub, or rather, two of them.
    [Show full text]
  • European Art: Mannerism by Joe A
    European Art: Mannerism by Joe A. Thomas Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com In the visual arts Mannerism refers to the dominant style of painting, sculpture, and architecture in Europe from around 1520 to about 1600, particularly in Italy. Characterized by exaggeration, artifice, and purposeful complexity, this "stylish Top: The Palazzo del Tè style"--as John Shearman has described it--was an artistic expression of the highly designed by Giulio refined courtly culture of the sixteenth century, while it simultaneously represented Romano. the changing status of the artist from mere artisan to educated creative spirit. It has Above: The Rape of the Sabines (1581-1583) by proven to be a great favorite of gay audiences, who developed a camp appreciation Giovanni Bologna. for its frequent excesses. The image of the Palazzo del Tè appears The Term Mannerism under the GNU Free Documentation License. Image attributed to The term Mannerism derives from the Italian maniera, meaning style or manner. The Marcok. exact usage and meaning of the term have been the subject of highly contentious debate within the field of art history, with some art historians such as Sydney Freedberg applying it to only a small group of artists from the first half of the century, and using alternative terms such as maniera and counter-maniera to describe other groups. In its most common usage, however, Mannerism refers more generally to the prevalent style of European art and architecture between the High Renaissance and the Baroque. Exaggerated or elongated proportions, extreme idealization, spatial confusion, horror vacuii (literally "fear of vacuum," a visual composition with virtually no negative space, in which every square inch is covered with something), and multiple layers of meaning are just some of Mannerism's notable characteristics.
    [Show full text]
  • Artificiality in Mannerism: the Influence of Self-Fashioning
    Artificiality in Mannerism: the Influence of Self-fashioning Author: Kira Maye Persistent link: http://hdl.handle.net/2345/495 This work is posted on eScholarship@BC, Boston College University Libraries. Boston College Electronic Thesis or Dissertation, 2007 Copyright is held by the author, with all rights reserved, unless otherwise noted. Artificiality in Mannerism: The Influence of Self-fashioning Kira Maye Professor Stephanie Leone Fine Arts Department, Art History Senior Honors Thesis April 2007 Table of Contents List of Illustrations 2 Introduction 3 Chapter I: Defining Mannerism 7 Chapter II: Vasari and Self-fashioning 27 Chapter III: Farnese Patronage and Self-fashioning 44 Conclusion 69 Illustrations 71 Bibliography 80 Illustrations Figures 1. Pontormo, Descent from the Cross, 1525-27 2. Rosso Fiorentino, Descent from the Cross, 1521 3. Rosso Fiorentino, The Dead Christ with Angels, 1524-27 4. Giovanni Bologna, Rape of the Sabine, 1583 5. Bronzino, Venus, Cupid, Folly, and Time, c. 1546 6. Giorgio Vasari, Allegory of the Immaculate Conception, 1541 7. Giulio Clovio, Queen of Sheba before Solomon, 1546 8. Michelangelo, Victory, c. 1532-34 9. Francesco Salviati, History of Paul III, c. 1558 10. Francesco Salviati, Bathsheba Going to David, 1552-54 11. Giorgio Vasari, Justice, 1543 12. Giorgio Vasari, Sala dei Cento Giorni, 1546 13. Giorgio Vasari, Peace of Nice, 1546 14. Giorgio Vasari, Paul III Distributing Benefices, 1546 15. Giorgio Vasari, Rebuilding of St. Peter’s, 1546 16. Giorgio Vasari, Universal Homage to Paul III, 1546 17. Raphael, Vision of the Cross, 1517-24 Introduction In the sixteenth century, Giorgio Vasari created a three-part history of Italian art in Lives of the most eminent painters, sculptors and architects.
    [Show full text]