Mannerism

The mannerism , also named late Rebirth , is an artistic movement of the period of the Renaissance energy of 1520 (death of the painter Raphaël) with 1580. It constitutes a reaction vis-a-vis artistic conventions of the High Rebirth, reaction started by the Sac of Rome of 1527 which shook the humanistic ideal of the Rebirth. Contrary to the preceding artistic movements, the diffusion being amorçant, it is not circumscribed any more with the Italy.

Presentation

Etymology

The term mannerism comes from Italian will handle , in the direction of the key characteristic of a painter. It belongs to the rare denominations of artistic current.

Ruptures…

In reaction to perfection reached during the High Rebirth in the representation of the human body and the control of the art of the perspective (theory of Alberti). For this reason, one often qualified the mannerism like “an anti-albertien art”, in particular Pisanelli.

Certain artists, around Jules Romain and of the pupils of Andrea del Sarto, thus sought to break deliberately with the exactitude of the proportions, the harmony of the colors or the reality of space, so as to produce a new emotional and artistic effect.

… and continuity

The mannerism is characterized moreover like an art of repertory, where the artists draw at Raphaël or Michel-Angel of the formulas to define their specific vocabulary. The Pieta of the the Vatican of Michel-Angel is thus worked over again in the “Madonna with the long neck” of Parmigianino, towards 1535 - 1540. The figure “ serpentina ” is also a formula frequently quoted in works of Bronzino, in particular the “ noli me tangere ” of 1561.

One thus should not see only the artists mannerists in rupture with respect to the Renaissance. They assert by quotations and references an artistic bond with Raphaël, Michel-Angel, Léonard de Vinci, or even Alberti.

The mannerism is thus an artistic play of the loan, but also a set of codes and symbols often turbid. He addresses himself to the well-read men of the time thus, by multiplying allusions and the quotations, with the risk to scramble the direction of works. Thus, “the Holy Family with the saints” of Pontormo of 1518 for the furnace bridge San Michele Visdomini of Florence, the dark atmosphere and disorder, the repetitions, in particular in the figures, but also the position of the characters like their immateriality, call into question the theological good reading of the table of furnace bridge for the believer. This fact involves a reaction within the orders of the Church, which reproaches the mannerism this artificial aspect and preaches a return to the naturalism and the right formulas albertiennes. The Carraches illustrate this return towards the traditional rebirth.

Characteristics of art mannerist

Thus one sees works mannerists presenting:

  • a space divided, and often definite
  • a turbid and obscure image,
  • a deformation and a torsion of the bodies, appears serpentina, the torsion of the body draws an S
  • tons acid and believed, inherited Michel-Angel and the Sixtine vault in Rome
  • a research the movement
  • an art of codes, symbols, quotations of traditional artists
  • an art of court, which addresses to cultivated people and well-read men

Some mannerists examples

The Joseph in Egypt of Jacopo da Pontormo is located in what would have been regarded as a whole of contradictory colors and a space and a time divided by the Rebirth. Neither the clothes, neither the buildings, nor even the colors represent this scene of the Bible according to the codes of the time. In this direction, this work was a misinterpretation, but which remained a faithful echo of the company of its time.

Rosso Fiorentino, which was the pupil of Pontormo to the studio of Andrea Del Sarto, brought the will handle florentine with Fontainebleau in 1530, where it became one of the founders of the French mannerism of the 16th century called l'" School of Fontainebleau ". The style of Fontainebleau, through engravings, transmitted the style Italian mannerist towards Antwerp, London, Northern Europe in Poland, where it was declined on luxury items like the carved silk and pieces of furniture. A direction of the tension controlled the sharp expression returned through symbols and allegories, while élongeant the proportions of the bodies of women characteristic of this style.

the Last Dinner of Jacopo Tintoretto is a mannerist good example where Jesus is represented beside the table, offset. All east depicts there, including Judas, which has a halation recovering it. Colors which one would say yelling depict angels in a confused atmosphere there.

Greco approached scene nuns with an exacerbated mannerism. This form of exaggeration was going to show the way of the maniérise towards the reappearing classicism.

Structure mannerist

An example of architecture mannerist is the Farnese Villa with Caprarola in the Roman countryside . The proliferation of the engravers during the 16th century spread the style mannerist more quickly than all the preceding styles. A center of mannerist creation was the town of Antwerp, during its development at the 16th century. The mannerism of Antwerp was the form in which the reappearing styles were largely introduced in England, in Germany and in East and Northern Europe in general. Swarming with decorative details of Romance style, the main door of the castle of Colditz is an edifying example of this Scandinavian style.

By many aspects, the mannerism precedes the tendencies of the Baroque.

Principal painters

One can quote like principal representatives of the current mannerist:

Principal sculptors and architects

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