Mannerist

Examples of Mannerist in the following topics:

• Mannerist Sculpture

  • Mannerist sculpture, like Mannerist painting, was characterized by elongated forms, spiral angles, twisting poses, and aloof subject gazes.
  • While sculpture of the High Renaissance is characterized by forms with perfect proportions and restrained beauty, as best characterized by Michelangelo's David, Mannerist sculpture, like Mannerist painting, was characterized by elongated forms, spiral angels, twisted poses, and aloof subject gazes.
  • Additionally, Mannerist sculptors worked in precious metals much more frequently than sculptors of the High Renaissance.
  • Mannerist figural sculpture was marked by contorted, twisting poses, as best evidenced by Giambologna's Rape of the Sabine Women.
  • Like other works of Mannerists, Bandinelli removes far more of the original block of stone than Michelangelo would have done.

• Mannerism

  • What makes a work of art Mannerist?
  • Jacopo da Pontormo (1494–1557) represents the shift from the Renaissance to the Mannerist style.
  • This lack of clarity on subject matter is a hallmark of Mannerist painting.
  • The Mannerist movement stresses different goals and this work of art by Pontormo demonstrates this new, and different style.
  • Describe the Mannerist style, how it differs from the Renaissance, and reasons why it emerged.

• Mannerist Architecture

  • During the Mannerist period, architects experimented with using architectural forms to emphasize solid and spatial relationships.
  • During the Mannerist period architects experimented with using architectural forms to emphasize solid and spatial relationships.
  • In Mannerist architecture, the Renaissance ideal of harmony gave way to freer and more imaginative rhythms.
  • The best known artist associated with the Mannerist style is Michelangelo (1475–1564).
  • Relate Mannerist architecture to the Early Renaissance style that came before

• Mannerist Painting

  • Stylistically, Mannerist painting encompasses a variety of approaches influenced by, and reacting to, the harmonious ideals and restrained naturalism associated with artists such as Leonardo da Vinci, Raphael, and early Michelangelo.
  • The second period of Mannerist painting, called "Maniera Greca," or High Mannerism, is commonly differentiated from the earlier, so-called "anti-classical" phase.
  • Influenced by earlier Byzantine art, High Mannerists stressed intellectual conceits and artistic virtuosity, features that have led later critics to accuse them of working in an unnatural and affected "manner" (maniera).
  • A number of the earliest Mannerist artists who had been working in Rome during the 1520s fled the city after the Sack of Rome in 1527.
  • Walter Friedlaender identified this period as "anti-mannerism," just as the early Mannerists were "anti-classical" in their reaction to the High Renaissance.

• Art for Aristocrats

  • These artists span from the Antwerp Mannerists, such as Hieronymus Bosch, at the start of the 16th century to the late Northern Mannerists, such as Hendrik Goltzius and Joachim Wtewael, at the end of the century.
  • Like the world landscapes, these represented a typically "Mannerist inversion" of the normal decorum of the hierarchy of genres, giving the "lower" subject matter more space than the "higher".

• The High Renaissance

  • Michelangelo's later works, such as The Last Judgment on the altar wall of the Sistine Chapel, and the Laurentian Library, are considered to be Mannerist style by some art historians.
  • The term is also used to refer to some Late Gothic painters working in northern Europe from about 1500 to 1530, especially the Antwerp Mannerists, a group unrelated to the Italian movement.
  • Mannerist art is characterized by elongated forms, contorted poses, and irrational settings.

• Antwerp: A Center of the Northern Renaissance

  • The first school of artists to emerge in the city were the Antwerp Mannerists, a group of anonymous late Gothic painters active in the city from about 1500 to 1520.
  • The Adoration scenes were especially popular with the Antwerp Mannerists, who delighted in the patterns of the elaborate clothes worn by the Magi and the ornamentation of the architectural ruins in which the scene was set.
  • Artists such as Otto van Veen and members of the Francken family, working in a late Mannerist style, provided new religious decoration.
  • This painting captures the Antwerp Mannerist tradition of using religious themes, particularly the Adoration of the Magi, for inspiration.

• Spanish Painting in the Northern Renaissance

  • Overall the Renaissance and subsequent Mannerist styles are difficult to categorize in Spain, due to the mix of Netherlandish and Italian influences, and regional variations.
  • Doménikos Theotokópoulos, better known as El Greco (1541–1614) "the Greek," was one of the most individualistic of the painters of the period, developing a strongly Mannerist style based on his origins in the post-Byzantine Cretan school, in contrast to the naturalistic approaches then predominant in Seville, Madrid, and elsewhere in Spain.

• Spanish Architecture in the Northern Renaissance

  • Gothic, Renaissance, and Mannerist elements are all important to the architecture of Spain in the 16th century.
  • Examine the influence of Gothic, Renaissance, and Mannerist elements in the architecture of Spain in the 16th century

• Wood Sculpture in the Northern Renaissance

  • Through commerce and individual travel, the classical and mannerist styles from the Italian peninsula began to make their way north.
  • On the other hand, the Mannerist, or Late Renaissance, style jettisoned the live model and aimed for more expressive figures, resulting in heightened emotion and drama and sometime artificially elongated and ill-proportioned bodies.
  • While his earlier styles convey a strong Gothic influence, his mature style shows Mannerist characteristics.