Mannerism+(Rome)

Mannerism

16th Century

(Rome)

MANNERIST style is a cultivation of High Renaissance stylistic ideals. c. 1520-1580

Artists began to take painting further than HR unity and sought to paint with more significance and wisdom even if obscure to most (pp276 -277). Artists attracted attention by painting less naturally, less obvious, less simply and un-harmoniously. Perfection once achieved fails to excite, therefore, artists aimed for the unexpected and the unheard of (pp278).
 * Gombrich**: identifies the peak of perfection as 1520 (that is, HR idealism and Naturalism). Gombrich identifies Michelangelo as the most admired, therefore his figures ‘muscley / athletic’ were copied. Artists ‘imitated the manner” rather than the spirit = Mannerism.

Mannerist artists wanted to push the limitations of naturalism (as they had mastered it in HR) by revealing the virtues of a figure in a realistic, exaggerated manner (often Mannerist works were artificial, and therefore not profound or serious). The Mannerist paintings look removed from nature because they idealize the forms to a point of almost abstraction. Mannerism relied on dreams and visions. The aim was to enhance the illusion of uncertainty to baffle the viewer or to startle.
 * Mannerism, unlike most other art styles, was not so much a rebellion against older styles as a deliberate cultivation, almost to excess, of a previous maniera (Italian, ‘style’). While the preceding High Renaissance and Early Renaissance period looked to nature to define their style, the Mannerists looked to the styles of the High Renaissance and Roman sculpture to find their manner of working.**

Mannerists developed as style that is characterised by its artificiality and ‘artiness.’ This means the artists self-consciously worked to show elegance and technical tricks with a sophisticated (not simple) indulgence of the bizarre e.g. elongated limbs, small head, stylized facial features, lineal perspective of HR removed so figures appear flattened and almost decorative. Mannerists continued always to refine 3D form using contrast of space, colour, proportion, perspective, scale and negative and positive space.

//Commissioned by: Angelo Doni// //To celebrate the wedding of Michelangelo’s friend Angelo Doni (a prosperous weaver (merchant) to Maddalena Strozzi (a famous banking family) (see Raphael’s portraits) – an elaborate frame around the painting carries the arms of the Strozzi family.// //This painting is the only surviving panel picture painted entirely by Michelangelo.// Location: Uffizzi, Florence Tempera and oil on Wood
 * Michelangelo “__Doni Tondo / The Holy Family__” (1514)**


 * Michelangelo’s paintings often show figures with a hard edge to them and a very sculptural feel. Michelangelo considered light and shade to be more important than colour. “I affirm that painting is the better the more it tends towards relief and the relief is the worse the more it tends towards painting.” Figures in Michelangelo’s works tend to not blend into the background (e.g. like Leonardo’s) but how strong outlines and strong colours creating a sculptural feel.**


 * This piece (Doni Tondo) is unusual because it shows both HR and Mannerist stylistic tendencies. This is especially peculiar when you consider the date it was made, far too early for Mannerism. It could be suggested this supports the idea that Michelangelo developed his own style in the manner of classical sculpture, rather than follow the more popular Naturalism derived from Leonardo da Vinci that was more evident in works by Raphael.**

Mary, Jesus and Joseph in foreground, John the Baptist with bear skin in mid-ground. Nude figures in back ground = pagan past. The painting is a celebration of marriage - Tondo (circular form) associated with marriage.

The virgin and St Joseph represent the old order while the new child represents the enlightenment world of HR, the nudes in the background the pagan past are distracted, only John the Baptist in the mid-ground recognises the significance of the 3 central figures, adoringly gazes across the barrier.

The composition is the same as Leonardo da Vinci’s cartoon for ‘Virgin of St Anne” in that the figures are group closely = powerful
 * Key stylistic Characteristics:**
 * Horizontal** line creates **Harmony** and **Order**. **Balanced** by people on each side in the background, (**circle = unity**), (**pyramid in group unit of 3 main religious figures in foreground = balance**)
 * Distinctive foreground, mid-ground and background** defined by placement of figures and strong horizontal band.
 * Feels cramped, although not chaotic**
 * Muscular figures, Contrapposto, Chiaroscuro, hard edges, vibrant colouring. [[file:Michelangelo - Toni Dondo.zip]]**

//Commissioned: Later became part of Medici collection// //Location: Palazzo Pitti, Florence//
 * Raphael “__Madonna Della Sedia__” (1518-20)**
 * //Shows both HR and Mannerist characteristics//**

Mother and child, close relationship (Mary and Jesus) John the Baptist is symbolised by cross on right hand side. He gazes up at Jesus, paving the way for him (Praying? Guardianship? Relation / Protection?)

All subjects appear very close to the **foreground**, **slight cropping**, **no background** The side of the chair **(arm rest) defines the space (foreground and background)** Jesus is **disproportion** – fat fingers, very plump, Classical, **restrained**.
 * Key stylistic Characteristics:**
 * Vibrant colouring, figures on right in shadow, spot lighting from artificial light source. [[file:Rapahel - Madonna of the Chair.zip]]**

It was commissioned by Cardinal Giulio de Medici who was made arch bishop of Narbon and became Pope Clement VII. //Location:// Pinacoteca Vaticana, Vatican City
 * Raphael “__Transfiguration of Christ__” (1518-20)**



Jesus transfigures (reveals himself as divine) with Moses on the left and Elijah on the right and watched by Peter, James and John on Mount Tabor – light over whelms them. In the lower section apostles and crowd with a lunatic child they have failed to heal, point to Jesus hoping or pleading he will come down and heal the child. On the sides two saints of Narbonne Cathedral climb the mountain.

in harmonious, asymmetrical, complex figure grouping made confusing though frantic action / strong diagonals into space / lead viewers into confusion.
 * Key stylistic characteristics:**
 * Open space in top half (HR style)**
 * Little space in lower part, crowded, disorderly, chaotic.**
 * Main event happens in background.**
 * Composition divided into two sections, top 1/3 divine, bottom 2/3 earthly.**
 * Scene above = orderly, symmetrical. Pyramid composition: balanced.**
 * The strong diagonals in the pyramid and** **strong vertical axes dividing the composition join each section. A circle created by the John, Peter and James on the mount also helps join the bottom and top sections as the vertical axes moves through it.**


 * Un classical, elongated, instable, exaggerated figures**


 * Garish theatrical, clashing light to heighten emotion for dramatic effect) = dark**
 * The apostles are lit from behind. Jesus’s face is illuminated.**
 * Harsh, acid, brilliant colours – prove it was all by Raphael, though previously thought to be by pupil Giulio Romano.**

//Commissioned by: originally by Pope Celement VII (who died in 1532), Pope Celement VII’s successor Pope Paul III held Michelangelo to the contract.//
 * Michelangelo “__The Last Judgement__” (1536-41)**


 * A significant shift in style is seen between the Last Judgement and the Sistine ceiling. Completed last, very mannerist in style, reflecting the time between when the ceiling was finished and the time it took to complete the back wall of the chapel.**


 * Key changes are:**
 * **Sistine Ceiling:**
 * -spacious design,**
 * -sense of security, unity and harmony**
 * -overall effect is simple yet complex**
 * -naturalist and humanist figures portray perfection and control**
 * -strong classical and sculptural references** || **Last Judgement:**
 * -compact and cramped**
 * -sense of turmoil and chaos**
 * -overall effect is confusing and over abundant**
 * -almost stylised and exaggerated figures (nudes are idealised to point of distortion).** ||


 * The Last Judgement is very busy, show Christ without a beard, saints with gestures of violence, and therefore was considered sacra religious.**


 * HR harmony etc. not as important as it no longer conveyed desired or true feelings – people’s attitudes towards art, church and society had changed.**


 * It is Michelangelo’s final condemnation of the World The power of this painting comes from the artists tragic despairs, Michelangelo painted himself into the judgement, not as an integral person but as a flawed, skinned man, an empty envelop of dead surface, drained by artistic and political pressure.**


 * There is one point when viewing the painting where the whole composition can be taken in one go, it is mostly seen at an angle due to its high position; when seen straight on the figures appear even more exaggerated. Michelangelo painted the figures in this way so when they are seen from an angle they appear real (illusion of real).**

The central theme = drama of human life, man’s destiny to be every further from God, sinful yet meant for eventual salvation. The artist is going through a spiritual and religious crisis, the painting a vision of the painters own suffering and pessimism. The content of the painting is abnormal the painting exploits the strangeness of the subject, is, bizarre and highly emotional.

//Christ is at the centre with his right arm (a gesture) that sets everything in motion. Christ embodies a powerful combination of human and Devine struggle. Christ shows outward beauty and fear. His gestures could be judgmental of a blessing.//

//In contrast Mary (Madonna) is on her knees a symbol of piety and mercy.//

//Michelangelo’s own portrait is painted into the composition as a skinned man / artist (sinful and mortal).//

In the lowest level = Charon (Devil’s ferryman) and on the left, dead are resurrected – above them a group rises to heaven.

Inharmonious, asymmetrical, complex figure groupings make confusing and frantic action.
 * Key stylistic Characteristics:**
 * Discrepancies in scale. Each group has its own perspective, there is about 400 figures.**
 * The painting is held together by a complicated structure of horizontal and vertical lines.**
 * (Horizontals = bands of people)**
 * (verticals = emphasis on left in ascent to heaven and right descent to destruction)**
 * The rotating movement links both ascent and fall to central figure (Christ) who directs the movement.**
 * 2 groups connect the resurrected and those rising to Heaven. [[file:Michelangelo- The Last Judgement.zip]]**




 * Pontormo** **real name Jacopo Carucci (1494-1557) was an Italian painter born in Pontormo and worked mainly in Florence. [[file:Pontormo.zip]]**

//Location:// Church of Santa Felicita, Florence
 * Pontormo “__Entombment / Deposition__” (1515-18)**

Jesus (dead) is taken down from the cross and carried to the tomb (no tomb, no crosses). Mary is in blue and is the largest women, slightly off centre to the right.


 * Key Stylistic Characteristics:**
 * Figures are generally in proportion (in proportion with each other) and show believable solidity / mass (HR), however have elongated necks, twisted poses, are un-classical, less restrained.**
 * Cramped, awkward poses, crowded figures, saddened expressions, unrealistic poses.**
 * Mary is bigger than the other figures.**
 * All figures in foreground,**
 * Disproportionate foreshortening.**
 * Clashing colour, main subject (Jesus and Mary) are in shadow), spotlighting effect.**

//Location: National Gallery, London//
 * Pontormo “__Joseph in Egypt__” (1515-18)**

Joseph in Egypt, Pharoahs dream Centre= discovery of cup in sack of grain Bottom left= reconciliation.


 * Key Stylistic Features:**
 * Disproportionate scale between groups of figures**
 * Unbalanced, no unity**
 * Action is on extreme left rather than central**
 * Bright colours, Evocative and beautiful in themselves. Irrational light, on upper platform and lower statues, Right side in deep shadow.**