ARTHLecture8Part1

ARTHLecture8Part1 - ARTH 1441 ARTH 1441 Historical Survey...

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Unformatted text preview: ARTH 1441: ARTH 1441: Historical Survey of the Arts: Renaissance to Modern Professor: Darius A. Spieth Art History Program LSU School of Art Outline Lecture 8 Outline Lecture 8 Characteristics of Mannerism Mannerist Painting in Italy Mannerist Sculpture in Italy Mannerist Architecture in Italy Transition from Mannerism to Baroque Terms and Time Line for Mannerism Some useful terms to describe Mannerism • maniera = “manner” (in the sense of “style”) • artificioso = “artificial” (in the sense of “contrived” or “artful”) • figura serpentinata = “serpentine figure” Time Line: (Early Ren.) 1400 (High Ren.) c. 1520 1500 (Late Ren.) 1600 Late Renaissance comprises: (a) Continuation of High Renaissance (b) Mannerism (c) Other Trends Properties of Mannerism Properties of Mannerism Mannerism overlaps with Late Renaissance Style of excess and exaggeration Renaissance order, symmetry, proportions abandoned Elongated figures (figura serpentinata) Vertical orientation Ambiguous space Hyper­sophistication and decadence Pontormo: Pontormo: Tumultuous Religious Painting Jacopo da Pontormo, Descent from the Cross, Capponi chapel, Santa Felicità, Florence, 1525­1528, oil o/wood No central focus (traditionally assigned to Mary, Christ) Figures elongated, flaccid (esp. Christ) Pastel colors Idea of weightlessness (billowing cloth) Parmigianino: Parmigianino: Figura Serpentinata Parmigianino, Madonna with the Long Neck, c. 1535, oil o/wood Epitome of the Mannerist style Figure twisting in space Body elongated (both Virgin, Christ child) Luxurious environment: free­ standing white column, richness of cloth, cushions, vase Medieval sources compared Virgin’s long neck to a great ivory tower or column Child attendants on the left seem to be spatially divorced from Virgin and child Bronzino: Bronzino: Courtly Decadence Bronzino, Venus, Cupid, Folly, and Time (The Exposure of Luxury), c. 1546, oil o/wood Student of Pontormo, painter to Cosimo I of Tuscany Time (bearded man) pulls back curtain Cupid fondling his mother, Venus (goddess of love) Folly advances to shower them with roses Masks=theatricality, symbol of deceit Bronzino: Bronzino: Courtly Decadence Porcelain­like whiteness of bodies, prevalence of rose colors> artificioso; artificial, contrived Enjoyment of the senses without remorse: hedonism Bronzino: Bronzino: Courtly Decadence Bronzino, Portrait of a Young Man, c. 1530s, oil o/wood Sitter anonymous Spanish dress: foppishness Body parts elongated (hands, face, neck) Body language of a refined aristocrat Anguissola: Anguissola: A Mannerist Woman Painter Sofonisba Anguissola, Portrait of the Artist’s Sisters and Brother, c. 1555, oil o/panel Prior to the18th century children were frequently depicted as small adults Anguissolo partly recognizes childhood as a distinct developmental state Whiteness of faces: Mannerist quality Arcimboldo: Arcimboldo: Fruit Portraits Giuseppe Arcimboldo, Rudolf II as Vertemnus (Fall), c. 1570, oil o/canvas Milanese artist employed by the Habsburg court of Maximilian II in Vienna Famous for his fruit portraits Rudolf II was Maximilian II’s son Another typical phenomenon Cellini: Cellini: An Italian Mannerist Sculptor Working in France Benvenuto Cellini, Genius of Fontainebleau, 1543­ 1544, bronze Trained as a goldsmith Subject: Diana>Classical goddess of hunt; game in background her attribute Double­Connotation: personification of Spring Cellini: Cellini: An Italian Mannerist Sculptor Working in France Diana’s figure: elongated in Mannerist fashion Head too small for torso Influence: Figures on Michelangelo’s Medici tombs Da Bologna: Da Bologna: A Mannerist Figure Group Giovanni da Bologna, Abduction of the Sabine Women, Loggia dei Lanzi, Piazza della Signoria, Florence, 1583, marble Artist of Dutch origin Application of Mannerist style to marble figure group twisting in space Da Bologna: Da Bologna: A Mannerist Figure Group Story depicted from Roman history Early Romans experienced shortage of women Abducted women from neighboring tribe of the Sabines (see J.­L. David’s painting) Bottom to top: Vanquished Sabine man, victorious Roman man, despairing Sabine woman White marble of classical sculpture; tense muscularity from Michelangelo; compositional principal from Mannerism ...
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This note was uploaded on 02/08/2012 for the course ARTH 1440 taught by Professor Camerlenghi during the Fall '11 term at LSU.

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