Mannerism (1520-1600) PDF

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I. Mannerism (1520-1600) A. Death of Raphael = ends renaissance  1520; art style starts in Florence B. Holy Roman Emperor Charles V reestablishes Medici control in Florence  becomes Dukes of Tuscany C. Foundation of the Accademia dele Disegno (first artistic academy) D. Time of uncertainty and upheaval 1. Sack of Rome 1527 by Holy Roman emperor (looted city) 2. Protestant Ref 3. Copernicus (heliocentric model) E. Styles (already reached perfection in techniques  start to abstract it/reaction of contemporary events?) 1. From Italian maniera (styles for style sake) 2. Reaction against High Ren ideals 3. Aesthetics take precedence over content/meaning 4. Distortion and exaggeration instead of unity and clarity 5. Highly expressive style (posing for the sake of posing F. Understudied time period  considered bad art G. Uncertain source of light, squeezed to foreground, bright colors, lack of certain background, no cross/halos, where is the focus?, commissioned for pleasure & humor (only elite will understand that its classy porn) H. Pontormo 1. Entombment, c. 1528 i. Jesus removed from cross (?) (where is cross? Where is tomb?) ii. Subject is esoteric (don’t have original commissioning docs) iii. Compared to Giotto a. No halos, angels b. No indication of space, no background (everyone is in foreground) c. Not gold (not heavenly place and extracted) d. Cloud = atmosphere can assume dark; odd light source in front e. Bright colors & tons, shading with highlights  unnatural f. Figures not fleshy, cold g. Unnatural poses h. No indication of ground i. There is no focus on Jesus (not sure where focus is - ambiguous) j. Figures are not accurately in scale I. Parmigianino 1. Madonna of the Long Neck, 1534 i. Madonna enthroned ii. Jesus in Mary’s lap, assumed angels on left  giving urn, vase iii. Urn = perfect ideal shape and form  beauty  relates to Mary (most beautiful) – long neck = long slender spout of vase iv.Blonde hair blue eyes Petrarch v. Unknown person on right corner vi. Column in background (not classical orders) = some argue it’s the gateway to heaven; pure beauty vii. Unreal  Bigger hips & legs vs. head & torso; long neck (Mary) viii. Modelled after pieta’s ix. Overly large jesus – looks dead big foreshadow to death  unstable x. No attempt to balanced composition xi. Compared to Madonna of the Meadows, Sanzio a. Long fingers J. Bronzino

1. Venus, Cupid, Folly, and Time, 1540-45 i. All about love and beauty ii. Venus kissing cupid (incest)  no shame iii. Deceit (Fraud; wheres head attached to?, Jealousy (old haggard woman  jealousy consumes her) iv.Humor only some people would understand v. Folly holding petals -> love vi. Apple attribute  discord with Paris judges 3 goddesses vii. Father time (old man)  curtain (revealing/concealing) with hourglass viii. No deep space, everyone in foreground ix. Unreal cupid  head not really attached; long lean; unrealistic posing & bodies x. Pigeons on bottom left corner xi. Nothing in center, figures surround it K. Michelangelo 1. Last Judgment, 1534-1541 i. Completely exaggerated Christ figure emphatic musculature to demonstrate Christ’s power  one hand to bless and other to condemn ii. Mary is cowering under him  almost afraid iii. Much nudity (full grown people in the nude  after sin) iv.All the clothing on people except on Mary is painted by another man  too much nudity (quite scandalous) wants to get back to purity v. Portrait  Saint Bartolomeo (attribute holding skin  self portrait of Michelangelo (?)) (bald & beard vs. hair no beard) L. Correggio 1. Jupiter and Io, 1531 i. Zeus in form of cloud  hide from Hera & come unsuspectingly of actions ii. Purely for pleasure theme  sex iii. Subtle shadowing in cloud  create face iv.Soft side of coloring (coloré) v. Body = more fleshy M. Baccio Bandinelli 1. Hercules and Cacus, 1525-34 i. commissioned by Medici; complement to David (highly criticized - put up in public square) ii. Hercules looks more defined and muscular (over exaggerated), identifies to Medici (power) also more intimidating compared to David’s  remarkably perfect iii. Cacus (the defeated  is more muscular than David) iv.Homosexual critique v. David’s triumph is subtler (?) vs Hercules more out there N. Cellini 1. Perseus, 1545-54 i. Also part of David & Hercules ii. Chops Medusa’s head iii. Exaggerated torso, odd hand position (limp) iv.Hermes winged shoes (attributes); standing on medusa’s body v. No definitive viewpoint  meant to seen in the round (equally interesting/appealing in all views) vi. Beautiful face  ideals towards time period O. Giambologna 1. Rape of the Sabine Women, 15__ (rape usually refers to abduction) i. Romulus abducts the women and persecutes the men

ii. Sabine at bottom, roman in center, women abducted at top iii. Exaggerated musculature, body pose, twisted feet and bodies iv.Study of form & beauty of how figures interact v. Not stable (no triangular stable form)...