manierismo nei paesi bassi

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Northern Mannerism

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Bartholomeus Spranger, Hercules,

Deianiraand Nessus, 158085

StuccooverdooratFontainebleau,

probably designed by Primaticcio, who

painted the oval inset

From Wikipedia, the free encyclopedia

Northern Mannerismis the form of Mannerismfound in the visual arts north of the

Alpsin the 16th and early 17th centuries.[1]Styles largely derived from Italian

Mannerism were found in the Netherlands and elsewhere from around the mid-

century, especially Mannerist ornament in architecture; this article concentrates on

those times and places where Northern Mannerism generated its most original and

distinctive work.

The three main centresof the style were in France, especially in the period 153050,

in Prague from 1576, and in the Netherlands from the 1580sthe first two phases

very much led by royal patronage. In the last 15 years of the century, the style, bythen becoming outdated in Italy, was widespread across northern Europe, spread in

large part through prints. In painting, it tended to recede rapidly in the new century,

under the new influence of Caravaggioand the early Baroque, but in architecture and

the decorative arts, its influence was more sustained. [2]

Contents [hide]

1 Background

2 France

3Prague under Rudolf II

3.1 Prague's influence on other painters (and their cities)

4 Netherlands Mannerism

5 Poland-Lithuania6 Dissemination in prints and books

7 In the decorative arts

8 Northern Mannerism, politics and religion

9 Other outcrops

10 Artists

11 See also

12 Notes

13 References

14 External links

Background [edit]

The sophisticated art of Italian Mannerism begins during the High Renaissanceof the

1520s as a development of, a reaction against, and an attempt to excel, the serenely

balanced triumphs of that style. As art historian Henri Zerner explains: "The concept

of Mannerismso important to modern criticism and notably to the renewed taste for

Fontainebleau artdesignates a style in opposition to the classicism of the Italian

Renaissance embodied above all byAndrea del Sartoin Florence and Raphaelin

Rome".[3]

The High Renaissance was a purely Italian phenomenon, and Italian Mannerism

required both artists and an audience highly trained in the preceding Renaissance

styles, whose conventions were often flouted in a knowing fashion. In Northern

Europe, however, such artists, and such an audience, could hardly be found. The

prevailing style remained Gothic, and different syntheses of this and Italian styles

were made in the first decades of the 16th century by more internationally aware artists such asAlbrecht Drer, Hans

Burgkmairand others in Germany, and the misleadingly named school ofAntwerp Mannerism, in fact unrelated to, and

preceding, Italian Mannerism.[4]Romanismwas more thoroughly influenced by Italian art of the High Renaissance, and

aspects of Mannerism, and many of its leading exponents had travelled to Italy. Netherlandish painting had been generally

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Diana, School of

Fontainebleau

Walnut French or Burgundian table,

2nd half of the 16th century

the most advanced in northern Europe since before 1400, and the best Netherlandish artists were better able than those of

other regions to keep up with Italian developments, though lagging at a distance.

For each succeeding generations of artists, the problem became more acute, as much Northern work continued to gradually

assimilate aspects of Renaissance style, while the most advanced Italian art had spiralled into an atmosphere of self-

conscious sophistication and complexity that must have seemed a world apart to Northern patrons and artists, but enjoyed a

reputation and prestige that could not be ignored.[5]

France [edit]

See also: Henry II styleFrance received a direct injection of Italian style in the form of the first School of

Fontainebleau, where from 1530 several Florentine artists of quality were hired to decorate

the royal palace of Fontainebleau, with some French assistants being taken on. The most

notable imports were Rosso Fiorentino(Giovanni Battista di Jacopo de' Rossi, 14941540),

Francesco Primaticcio(c.15051570), Niccol dell'Abbate(c.15091571), all of whom

remained in France until their deaths. This conjunction succeeded in generating a native

French style with strong Mannerist elements that was then able to develop largely on its own.

Jean Cousin the Elder, for example, produced paintings, such as Eva Prima Pandoraand

Charity, that, with their sinuous, elongated nudes, drew palpably upon the artistic principles of

the Fontainebleau school.[6]Cousin's son Jean the Younger, most of whose works have not

survived, andAntoine Caronboth followed in this tradition, producing an agitated version of

the Mannerist aesthetic in the context of the French Wars of Religion. The iconographyof

figurative works was mostly mythological, with a strong emphasis on Diana, goddess of the

hunting that was the original function of Fontainebleau, and namesake of Diane de Poitiers,

mistress and muse of Henry II, and keen huntress herself. Her slim, long-legged and athletic

figure "became fixed in the erotic imaginary".[7]

Other parts of Northern Europe did not have the advantage of such intense contact with Italian artists, but the Mannerist style

made its presence felt through prints and illustrated books, the purchases of Italian works by rulers and others,[8]artists'

travels to Italy, and the example of individual Italian artists working in the North.

Much of the most important work at Fontainebleau was in the form of stuccoreliefs,

often executed by French artists to drawings by the Italians (and then reproduced in

prints), and the Fontainebleau style affected French sculpture more strongly than

French painting. The huge stucco frames which dominate their inset paintings with

bold high-relief strapwork, swags of fruit, and generous staffage of naked nymph-like

figures, were very influential on the vocabulary of Mannerist ornament all over

Europe, spread by ornament books and prints byAndrouet du Cerceauand others

Rosso seems to have been the originator of the style. High-style walnut furniture

made in metropolitan centers like Paris and Dijon, employed strapwork framing and

sculptural supports in dressoirsand buffets. The mysterious and sophisticated Saint-

Porchaire ware, of which only about sixty pieces survive, brought a similar aesthetic

into pottery.

Apart from the Palace of Fontainebleauitself, other important buildings decorated in the style were the Chteau d'Anet

(154752) for Diane de Poitiers, and parts of the Palais du Louvre. Catherine de' Medici's patronage of the artspromoted the

Mannerist style, except in portraiture, and her court festivitieswere the only regular northern ones to rival the intermediosandentriesof the Medicicourt in Florence; all of which relied heavily on the visual arts. After an interlude when work on

Fontainebleau was abandoned at the height of the French Wars of Religion, a "Second School of Fontainebleau" was formed

from local artists in the 1590s.

Monument containing theheart of Henry II of

France, Germain Pilon

Shield of Henry II ofFrance, steel

damascened in silver and

gold, design attributed to

Etienne Delaune

Design for a VesselPresented to Henry II,

Jean Cousin the Elder,

1549

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Adriaen de Vries, Mercury

and Psychein life-size bronze,

made in 1593 for Rudolf.

Bartholomeus Spranger,

Minervatriumphs over

Ignorance, 1591, "anastonishing makeover ...

[Minerva] never looks as

glamourous anywhere

else".[10]

Prague under Rudolf II [edit]

Maximilian II, Holy Roman Emperor(reigned 15641576), who made his base in Vienna, had

humanistand artistic tastes, and patronised a number of artists, mostly famously

Giambolognaand Giuseppe Arcimboldo, whose fantasy portraits made up of objects were

slightly more serious in the world of late-Renaissance philosophy than they seem now. At the

end of his reign he devised a project for a new palace and just before he died the young

Flemish painter Bartholomeus Sprangerhad been summoned from Rome, where he had

made a successful career. Maximilian's son, Rudolf II, Holy Roman Emperorwas to prove an

even better patron than his father would have been, and Spranger never left his service. The

court soon transferred to Prague, safer from the regular Turkish invasions, and during his

reign of 15761612, Rudolf was to become an obsessive collector of old and new art, his

artists mixing with the astronomers, clockmakers, botanists, and "wizards, alchemists and

kabbalists" who Rudolf also gathered around him. [9]

Works from Rudolf's Prague were highly finished and refined, with most paintings being

relatively small. The elongation of figures and strikingly complex poses of the first wave of

Italian Mannerism were continued, and the elegant distance of Bronzino's figures was

mediated through the works of the absent Giambologna, who represented the ideal of the

style.

Printswere essential to disseminate the style to Europe,

Germany and the Low Countries in particular, and some printmakers, like the greatest of the

period, Hendrik Goltzius, worked from drawings sent from Prague, while others, likeAegidius

Sadelerwho lived in Spranger's house, had been tempted to the city itself. Rudolf also

commissioned work from Italy, above all from Giambologna, who the Medicis would not allow to

leave Florence, and four great mythological allegorieswere sent by Paolo Veronese.[11]The

Emperor's influence affected art in other German courts, notably Munich, and Dresdenwhere

the goldsmith and artist Johann Kellerthalerwas based.

Rudolf was relatively little interested in religion, and "in the Prague of Rudolf II an explosion of

mythological imagery was produced that had not been seen since Fontainebleau".[12]

Goddesses were usually naked, or nearly so, and a more overt atmosphere of eroticism

prevails than is found in most Renaissance mythological works, evidently reflecting Rudolf's

"special interests".[13]The dominating figure was Hercules, identified with the emperor, as he

had earlier been with earlier Habsburgand Valoismonarchs.[14]But the other gods were not

neglected; their conjunctions and transformations had significance in Renaissance Neo-

Platonismand Hermeticismthat were taken more seriously in Rudolf's Prague than any other

Renaissance court.[15]It seems, however, that the painted allegories from Prague contain

neither very specific complicated meanings, nor hidden recipes for alchemy. Giambologna

frequently chose, or let someone else choose, a title for his sculptures after their completion; for him it was only the forms that

mattered.[16]

Prague's influence on other painters (and their cities) [edit]

Utrecht (city) Joachim

Wtewael, Venusand

Marssurprised by

Vulcan, 1601, 21 x

16 cm on copper.

Aachen Hans von

Aachen, Allegory of

Peace and the Arts,

1602

Haarlem Karel van

Mander, Garden of Love,

1602

Haarlem Roelant

Savery, Garden of Eden,

a typical subject, 1626.

Rudolf also had large

menageries, including a

dodo, seen in many

paintings.

Netherlands Mannerism [edit]

Whereas the artists of both Fontainebleau and Prague were mostly provided with a home so congenial in both intellectual and

physical terms that they stayed to the end of their lives, for artists of the last Netherlandish phase of the movement

Mannerism was very often a phase through which they passed before moving on to a style influenced by Caravaggio.

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Abraham Bloemaert, Niobe

mourning her children, 1591

Joachim Wtewael's elaborate

allegory presents itself as a Kitchen

Scenewith virtuoso passages of still

life, 1604

A less typical, but forward-looking,pure landscape by Roelandt Savery,

Forest with deer, 160810.

Ambrosius Bosschaert, still-life,

1614

For Hendrik Goltzius, the greatest printmaker of the day, his most Mannerist phase

under the influence of Spranger only lasted for the five years between 1585, when he

engraved his first print after one of the Spranger drawings brought from Prague by

Karel van Mander, to his trip to Rome in 1590, from which he "returned a changed

artist. From this time on he no longer made prints after Spranger's extravaganzas.

The monstrous muscle-men and over-elongated female nudes with tiny heads ... were

replaced by figures with more normal proportions and movements."[17]Spranger's

work "had a wide and immediate effect in the Northern Netherlands",[17]and the group

known as the "Haarlem Mannerists", principally Goltzius, van Mander, and Cornelis

van Haarlemwas matched by artists in other cities.

Partly because most of his Netherlandish

followers had only seen Spranger's work through prints and his mostly very free

drawings, his more painterly handling was not adopted, and they retained the tighter

and more realistic technique in which they had been trained. Many Dutch mannerist

painters could switch styles depending on subject or commission, and continued to

produce portraits and genre scenes in styles based on local traditions at the same

time they were working on highly Mannerist paintings. After his return from Italy

Goltzius moved to a quieter proto-Baroque classicism, and his work in that style

influenced many.

Joachim Wtewael, who settled in Utrechtafter returning from Italy in 1590, drew more

influence from Italian Mannerists than from Prague, and also continued to producekitchen scenes and portraits alongside his naked deities. Unlike many, notably his

fellow UtrecherAbraham Bloemaert, once Wtewael's repertoire of styles was formed, he never changed it until his death in

1631.[18]

For painters in the Low Countries there was also the alternative of traditional Northern

realist styles, which had continued to develop through Pieter Bruegel the Elder

(d.1567) and other artists, and in the next century were to dominate the painting of

the Dutch Golden Age. Despite his visit to Italy, Brughel certainly cannot be called a

Mannerist, but just as his paintings were keenly collected by Rudolf, Mannerist artists,

including Gillis van Coninxlooand Bruegel's son Jan, followed him in developing the

landscape as a subject.

Landscape painting was recognised as a Netherlandish speciality in Italy, whereseveral Northern landscapists were based, such as Matthijsand Paul Bril, and the

Germans Hans RottenhammerandAdam Elsheimer, the last an important figure in the

Early Baroque. Most still painted Netherlandish panoramas from a high view-point,

with small figures forming a specific subject, but Gillis van Coninxloo followed the earlier Danube SchoolandAlbrecht

Altdorferin developing the pure and "close-up" forest landscape in his works from about 1600, which was taken up by his

pupil Roelandt Saveryand others.[19]Bloemaert painted many landscapes reconciling these types by combining close-up

trees, with figures, and a small distant view from above to one side (example below).[20]Paul Brill's early landscapes were

distinctly Mannerist in their artificiality and crowded decorative effects, but after his brother 's death, he gradually evolved a

more economical and realistic style, perhaps influenced byAnnibale Carracci.[21]

Still-lifepainting, usually mostly of flowers and insects, also emerged as a genre

during the period, re-purposing the inherited tradition of late Netherlandish miniature

borders; Jan Brueghel the Elderalso painted these. Such subjects appealed to both

aristocratic patrons and the bourgeois market, which was far larger in the

Netherlands. This was especially so in the Protestant north, after the movement of

populations in the Revolt, where the demand for religious works was largely

absent.[22]

Karel van Mander is now remembered mainly as a writer on art rather than an artist.

Though he endorsed the Italian hierarchy of genres, with history paintingat the top,

he was readier than Vasariand other Italian theorists (above all Michelangelo, who

was brusquely dismissive of 'lower' forms of art) to accept the value of other

specialized genres of art, and to accept that many artists should specialize in these, if

that is where their talent lay.[23]Specialization of many artists in the various genres was well advanced by the end of the

century, in both the Netherlands and Prague, exemplified by Bruegel's two sons, Janand Pieter, though it was also typical of

the period that they both had more than one speciality during their careers. Although landscapes, scenes of peasant life,

sea-scapes and still lifes could be bought by dealers for stock, and good portraits were always in demand, demand for history

painting was not equal to the potential supply, and many artists, like Cornelius Ketel, were forced to specialize in portraiture;

"artists travel along this road without delight", according to van Mander. [24]

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5/11

The Seven Liberal ArtsbyMarten de

Vos, 1590

OstrogskiTomb, by Willem van den

Blocke,[28]TarnwCathedral, 1612

EngravingofRudolf IIbyAegidius

Sadeler(1603).

The Mannerist painters in the now permanently separated southern provinces of HabsburgFlandersin fact were less

influenced by Prague than those in the United Provinces. They had more easy access

to Italy, where Denis Calvaertlived from the age of twenty in Bologna, though selling

much of his work back to Flanders. Both Marten de Vosand Otto van Veenhad

travelled there; Van Veen, who had actually worked in Rudolf's Prague, was the

founder of the Guild of Romanists, an Antwerp club for artists who had visited Rome.

They were more conscious of recent trends in Italian art, and the emergence of

Baroquestyle, which in the hands of Van Veen's pupil from 1594 to 1598, Rubens,

would soon sweep over Flemish art.[25]In religious works, Flemish artists were also

subject to the decrees of the Council of Trent, leading to a reaction against the moreextreme virtuosities of Mannerism and to a clearer, more monumental style akin to the

Italian maniera grande.[26]In the retablesof de Vos, for example, "a tempered Mannerism is combined with a preference for

narrative that is more in line with Netherlandish tradition". [26]

In Flanders, though not in the United Provinces, the mostly temporary displays for royal entriesprovided occasional

opportunities for lavish public exhibitions of Mannerist style. Festival booksrecorded the entries into Antwerp of French

princes and Habsburg archdukes.[27]

Poland-Lithuania [edit]

Main article: Mannerist architecture and sculpture in Poland

Mannerism was dominant in Poland-Lithuaniabetween 1550 and 1650, when it was

finally replaced by the Baroque.[29]The style includes various mannerist traditions,[29]

which are closely related with ethnic and religious diversity of the country, as well as

with its economic and political situation at that time.[30][31]The period between 1550

and 1650 was a Golden Age of the PolishLithuanian Commonwealth(created in

1569) and a Golden Age of Poland.[32]The first half of the 17th century is marked by

strong activity of the Jesuitsand Counter-Reformation , which led to banishing of

progressive Arians (Polish Brethren) in 1658. See below for the German-Silesian

painter Bartholomeus Strobel, Polish court artist from 1639.

Dissemination in prints and books [edit]

The importance of prints as a medium for

disseminating mannerist style has already

been mentioned; Northern Mannerism "was a

style that lent itself admirably to printmaking,

and inspired the production of a succession of

masterpieces of the printmaker's art".[33]

Goltzius was already the most celebrated

engraver in the Netherlands when the

Mannerist virus struck, and despite the disruptions of war he and other Netherlandish

printmakers were connected with the well-oiled machinery of distribution across

Europe that had been built up over the preceding fifty years, originally centred on

Antwerp.

The same had not been true for the printmaking at Fontainebleau, and the printsmade there (unusually for the period, all in etching) were technically rather rough,

produced in smaller numbers, and mainly influential in France. They were made in an

intense period of activity approximately from 1542 to 1548.[34]Those made in Paris

were engravingsand of a higher quality; produced from about 1540 to about 1580,

they had a wider distribution.[35]Many of the Fontainebleau prints were apparently made directly from drawn designs for the

decorations of the palace, and consisted largely or entirely of ornamental frames or cartouches, although such was the scale

of Fontainebleau that these might contain several full-length figures. Variations on the elaborate framings, as if made of cut,

pierced and rolled parchment, played out in decorative framing schemes, engraved title pages and carved and inlaid furniture

into the seventeenth century.[36]

Printed Mannerist ornament, in a somewhat broader sense of the word, was a good deal easier to produce than the risky

application of an extreme Mannerist style to large figure compositions, and had been spreading across Europe well in

advance of painting in the form of frames to portrait prints, book frontispieces, so like the elaborate doorways and fireplaces

of Mannerist architecture,[37]ornament books for artists and craftsmen, and emblem books. From these and works in their

own medium, goldsmiths, frame and furniture makers, and workers in many other crafts developed the vocabulary of

Mannerist ornament. Wendel Dietterlin's bookArchitecturaof 15934, produced in the relative backwater of Strasbourg, was

the most extreme application of the style to architectural ornament. [33]

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6/11

Impractical cup in form of a

seahorse (presumably the head

comes off), Leipzig1590

Detail of Rudolf's Imperial crown,

gold, enameland jewels. Prague, 1602

Christ and Mary

Magdalenein the garden.

Sadeler engraving after

Bartholomeus Spranger

Jan Saenredam, Venus

and Cupid, after Hendrick

Goltzius

Icarusby Goltzius

Composite order

columns from Wendel

Dietterlin'sArchitectura

(159394).

In the decorative arts [edit]

The visual wit and sophistication of Mannerism in northern hands, which made it pre-

eminently a courtstyle, found natural vehicles in goldsmith's work,[38]set off by gems

and colored enamels, in which the misshaped pearls we call "baroque" might form

human and animal torsos, both as jewelry for personal adornment and in objects

made for the Wunderkammer. Ewers and vases took fantastic shapes, as did

standing cups with onyx or agate bowls, and elaborate saltcellars like the Salieraof

Benvenuto Cellini, the apex of Mannerist goldsmithing, completed in 1543 for Francis I

and later given to Rudolf's uncle, another great collector. Wenzel Jamnitzerand his

son Hans, goldsmiths to a succession of Holy Roman Emperors, including Rudolf,

were unexcelled in the north.[39]Silversmiths made covered cups and richly wrought

ewers and platters, strictly for display, perhaps incorporating the large sea-shells now

being brought back from the tropics, which were "cherished as Art produced by

Nature".[40]In the Netherlands a uniquely anamorphic "auricular style", employing writhing and anti-architectural cartilaginous

motifs was developed by the van Vianen family of silversmiths. [41]

Though Mannerist sculptors produced life-size bronzes, the bulk of their output by unit

was of editions of small bronzes, often reduced versions of the large compositions,

which were intended to be appreciated by holding and turning in the hands, when the

best "give an aesthetic stimulus of that involuntary kind that sometimes comes from

listening to music".[42]Small low reliefpanels in bronze, often gilded, were used in

various settings, as on Rudolph's crown.

Female sphinxeswith extravagantly elongated necks and prominent breasts support a

Burgundian cabinet of walnut in the Frick Collection, New York; soonAntwerpmade a

specialty of richly carved and veneered cabinets inlaid with tortoiseshell, ebony, [43]

and ivory, with architectural interiors, mirrored to multiply reflections in feigned

spaces. In England the Mannerist excesses of Jacobean furniturewere expressed in

extreme legs turned to imitate stacked covered standing cups, and a proliferation of

enlaced strapworkcovered plane surfaces.[44]Following the success of Brussels

tapestrieswoven after the Raphael cartoons, Mannerist painters like Bernard van

Orleyand Perino del Vagawere called upon to design cartoonsin Mannerist style for

the tapestryworkshops of Brussels and Fontainebleau. Painterly compositions inMannerist taste appeared in Limoges enamelstoo. Moresques, swags and festoons

of fruit inspired by rediscovered Ancient Roman grotesqueornament, first displayed in the Raphael school Vatican Stanze,

were disseminated through engravings in an ornamental vocabulary expressed in the North less in such frescoesand more in

tapestryand illuminated manuscriptborders.

In France, Saint-Porchaire wareof Mannerist forms and decor was produced in limited quantities for a restricted fashion-

conscious clientele from the 1520s to the 1540s, while the crowded, disconcertingly lifelike compositions of snakes and toads

characterize the Mannerist painted earthenwareplatters of Bernard Palissy. Like the Jamnitzers on occasion,[45]Palissy made

moulds from real small creatures and plants to apply to his creations.

Northern Mannerism, politics and religion [edit]

Northern Europe in the 16th century, and especially those areas where Mannerismwas at its strongest, was affected by massive upheavals including the Protestant

Reformation, Counter-Reformation , French Wars of Religionand Dutch Revolt. The

relationship between Mannerism, religion and politics was very complex. Although

religious works were produced, Northern Mannerist art de-emphasized religious

subjects, and when it did treat them was usually against the spirit both of the Counter-

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7/11

"Rustic" glazed earthenware platter

attributed to Bernard Palissy, Paris

Augustus and the Tiburtine Sibyl,

Antoine Caron, c. 1580

Cornelis van Haarlem, Massacre of

the Innocents, 1590

Etching byJacques Bellange, The

Three Marys at the Tomb1610s

Reformation attempt to control Catholic artand Protestant views on religious

imagery.[46]

In the case of Rudolf's Prague and French art after the mid-century, secular and

mythological Mannerist art seems to have been partly a deliberate attempt to produce an art that appealed across religious

and political divides.[47]At the same time, Mannerism at its most extreme was usually a court style, often used to

propagandize for the monarchy,[48]and it risked becoming discredited through association with unpopular rulers. While

Rudolf's genuine tolerance seems to have avoided this in Germany and Bohemia, by the end of the century Mannerism had

become associated by the CalvinistProtestants and other patriots of France and the Netherlands with their unpopular

Catholic rulers.[49]

Certain Mannerist works seem to echo the violence of the time, but dressed in

classical clothing.Antoine Caronpainted the unusual subject of Massacres under the

Triumvirate(1562, Louvre), during the Wars of Religion, when massacres were a

frequent occurrence, above all in the Saint Bartholomew's Day Massacreof 1572, six

years after the painting.[50]According to art historianAnthony Blunt, Caron produced

"what is perhaps the purest known type of Mannerism in its elegant form, appropriate

to an exquisite but neurotic aristocratic society".[51]His cartoons for the Valois

Tapestries, which hark back to the triumphalist History of Scipiotapestries designed

for Francis Iby Giulio Romano,[52]were a propaganda exercise on behalf of the Valois

monarchy, emphasizing its courtly splendour at the time of its threatened destruction

through civil war. Jean Cousin the Younger's only surviving painting, The Last

Judgement, also comments on the civil war, betraying a "typically mannerist penchant for miniaturization".[53]

Tiny, nakedhuman beings "swarm over the earth like worms", while God looks down in judgement from above. [51]

Cornelis van Haarlem's Massacre of the Innocents(1590, Rijksmuseum), more

Baroque than Mannerist, may involve his childhood memories of the killings (in fact

only of the garrison) after the Siege of Haarlemin 1572-3, which he lived through.

Brughel's completely un-mannerist version of the same subject was bought by Rudolf,

who had someone turn many of the massacred children into geese, calves, cheeses,

and other less disturbing spoils.[54]In general, Mannerist painting emphasizes peace

and harmony, and less often chooses battle subjects than either the High

Renaissance or the Baroque.

Another subject popularized by Brughel, Saint John Preaching in the Wilderness, was

given Mannerist treatments by several artists, as a lush landscape subject. But forDutch Protestants the subject recalled the years before and during their Revolt, when they were forced to congregate for

services in the open countryside outside towns controlled by the Spanish.[49]

Other outcrops [edit]

Henry VIII of Englandhad been spurred in emulation of Fontainebleau to import his

own, rather less stellar, team of Italians and French artiststo work on his new

Nonsuch Palace, which also relied heavily on stuccoes, and was decorated from

about 1541. But Henry died before it was completed and a decade later it was sold

by his daughter Marywithout ever having seen major use by the court. The palace

was destroyed before 1700 and only small fragments of work associated with it have

survived, as well as a faint ripple of influence detectable in later English art, for

example in the grand but unsophisticated stuccoes at Hardwick Hall.

The portrait miniaturist Isaac Olivershows tentative Late Mannerist influence,[55]

which also appears in some immigrant portrait painters, such as William Scrots, but

generally England was one of the countries least affected by the movement except

in the area of ornament.

Though Northern Mannerism achieved a landscape style, portrait-painting remained

without Northern equivalents of Bronzinoor Parmigianino, unless the remarkable but

somewhat naive Portraiture of Elizabeth Iis considered as such.

One of the last flowerings of Northern Mannerism came in Lorraine, whose court

painter Jacques Bellange(c.15751616) is now known only from his extraordinary

etchings, though he was also a painter. His style derives from NetherlandishMannerism, though his technique from Italian etchers, especially Barocciand Ventura Salimbeni.[56]Unusually, his subjects

were mainly religious, and though the costumes are often extravagant, suggest intense religious feelings on his part.

Even later, the German-Silesianpainter Bartholomeus Strobel, who had spent the last years of Rudolf's reign as a young

artist in Prague, continued the Rudolfine style into the 1640s, despite the horrors visited on Silesia by the Thirty Years War,

in works such as his enormous Feast of Herod with the Beheading of St John the Baptistin the Prado. From 1634 he

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Abraham Bloemaert, Landscape

with St John Preaching in the

Wilderness

History of Dutchand Flemishpainting

Early Netherlandish (14001523)

Renaissance painting (15201580)

Northern Mannerism (15801615)

Dutch "Golden Age" painting (16151702)

Flemish Baroque painting (16081700)

List of Dutch painters

List of Flemish painters

Cornelis van Haarlem, Fall of the

Titans, 1588

Feast of Herod with the Beheading of St John the Baptist, c. 1630s, Prado; almost 10 metres wide,

Bartholomeus Strobel's masterpiece, and an allegory of the Thirty Years War

retreated to the safety of Polandas court artist.[57]

Artists [edit]

French artists influenced by the first

School of Fontainebleau:

Jean Cousin the Elder(1500-c. 1590)

Jean Goujon(c. 1510-after 1572)

sculptor and architect

Juste de Juste(ca. 1505 ca. 1559) sculptor and etcher

Antoine Caron(15211599)

The continuing French tradition:

Germain Pilon(c. 1537 1590), sculptor

Androuet du Cerceau, family of architects; Jacques I introducing Mannerist

ornament

Jean Cousin the Younger(ca. 15221595), painter

Toussaint Dubreuil(c. 1561 1602), second School of Fontainebleau:

Working for Rudolf:

Giambologna(15291608), Flemish sculptor based in FlorenceAdriaen de Vries(15561626), Flemish sculptor, pupil of Giambologna, who went to Prague

Bartholomeus Spranger(15461611) Flemish painter, Rudolf's main painter

Hans von Aachen(15521615) German, mythological subjects and portraits for Rudolf

Joseph Heintz the Elder(15641609) Swiss pupil of Hans von Aachen

Paul van Vianen, Dutch silversmith and artist

Aegidius Sadeler mainly a printmaker

Wenzel Jamnitzer(1507/8-1585), and his son Hans II and grandson Christof, German goldsmiths

Joris Hoefnagel, especially for miniatures of natural history

Roelant Savery, landscapes with animals and still-lifes

In the Netherlands:

Herri met de Bles, (1510-1555/60), landscape artist, earlier than the others

Karel van Mander now best known as a biographer of Netherlandish artists

Hendrik Goltzius(15581617) the leading engraver of the period, and later a

painter in a less Mannerist style.

Cornelis van Haarlem(15621651)

Hubert GerhardDutch, (c. 1540/1550-1620)

Joachim Wtewael(15661638)

Jan Saenredam mainly a printmaker

Jacob de Gheyn II mainly a printmaker

Abraham Bloemaert(15661651), in the early part of his career

Hans Vredeman de

Vries(1527 c.1607), architect,

ornament designer,

who wrote on garden

design.

Flemish:

Denis Calvaert

worked mostly in Italy,

in a largely Italian

style, as did

Paul and Matthijs Bril, mostly painting landscapes

Marten de Vos, founder of the Guild of RomanistsOtto van Veen, (15561629)

Elsewhere:

Hans Rottenhammer(15641625) landscapist from Munich, spent several years in Italy

Wendel Dietterlin(c. 15501599), German painter, best known for his book on architectural decoration

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Jacques Bellange(c. 15751616), court painter of Lorraine, whose work only survives in etching.

Bartholomeus Strobel(1591-c. 1550), court portraitist, also religious scenes, in Silesia and then Poland.

See also [edit]

Antwerp school

Northern Renaissance

Renaissance in the Low Countries

Elizabethan furniture

Mannerist architecture and sculpture in Poland

Notes [edit]

1. ^The different definitions of what constituted Italian Mannerism are notorious, and have a knock-on effect in defining the northern

versions. For the purposes of this article, the term is used broadly in the sense set out in Shearman (pp. 1532 in particular),

though in a rather wider sense when ornament is discussed. See Smyth, and especially its Introduction by Cropper for an account

of the differing ways the term has been used by art historians.

2. ^See, for example, Simon Jervis, Printed Furniture Designs Before 1650(Furniture History Society), 1974.

3. ^Zerner, 124.

4. ^The term is also sometimes used in architecture to describe a different style, which isMannerist. The painting style is mostly

found before about 1520, the architectural one after about 1540.

5. ^Shearman, 2224

6. ^Chastel, 21920. Eva Prima Pandora.7. ^Bull, 278

8. ^In particular Francis I of Francewas presented with Bronzino's Venus, Cupid, Folly and Time.

9. ^Trevor-Roper, 87104, quote attributed to "his indignant family" on p. 122

10. ^Bull, 355, who says she usually wore "a long robe and unwieldy armour"

11. ^Now divided between the Fitzwilliam Museumin Cambridge, the Frick Collection(with two) and the Metropolitan Museum of Art

in New York. Another Veronese series, the four "Allegories of Love" now in the National Gallery, London, was probably also

commissioned by Rudolf.

12. ^Bull, 84. See also 385386 for mythological subjects in Mannerism generally.

13. ^Trevor-Roper, 116121, quote 120

14. ^Bull, 117 and 133-34

15. ^Trevor-Roper, 116121, and Metzler, 130 ff Google books

16. ^Shearman, 162163

17. ^ abSlive, 89

18. ^Slive, 1314

19. ^Slive 179180, and Shawe-Taylor and Scott, 2932.

20. ^Slive, 180

21. ^Vlieghe, 177.

22. ^Shawe-Taylor, 2123

23. ^Shawe-Taylor, 2425, and 2930

24. ^Shawe-Taylor, 2223, 3233 on portraits, quotation from 33

25. ^Shawe-Taylor, 3740

26. ^ abVlieghe, 13.

27. ^Sample illustrated page from a fully online book of 1594. British Library.Another example from 1582 . This strange record

shows the limitations of such propaganda to affect events.

28. ^(Polish)"Pomnik Ostrogskich" . matrix.jasna.tarnow.pl. Retrieved 2009-12-28.

29. ^ ab(Polish)Tadeusz Dobrowolski, Helena Blumwna (1965). Historia sztuki polskiej (History of Polish art). Wydawnictwo

Literackie. pp. 44, 346.

30. ^(English)Peter J. Katzenstein (1997). Mitteleuropa: between Europe and Germany. p. 83. ISBN1-57181-124-9.

31. ^(English)Franois Penz, Gregory Radick, Robert Howell (2004). Space: in science, art and society. Cambridge University

Press. p. 137. ISBN0-521-82376-5.

32. ^(English)Andrzej Borowski (2007). Iter Polono-Belgo-Ollandicum: cultural and literary relationships between the Commonwealth

of Poland and the Netherlands in the 16th and 17th centuries. Ksigarnia Akademicka. p. 8. ISBN83-7188-951-8.

33. ^ abGriffiths and Hartley, 38

34. ^Zerner, 125.

35. ^Jacobsen 47. French exports of prints were mainly restricted to Spain and Portugal, although Vasari in Florence was aware of

later prints of the decor at Fontainebleau.

36. ^Shearman, 17037. ^Shearman, 121122

38. ^John Hayward, Virtuoso Goldsmiths and the Triumph of Mannerism, 15401620, 1976.

39. ^See MMA external link for an example of Wenzel's work

40. ^Fuchs, 34

41. ^Rijksmuseum , "Paulus van Vianen", Van Vianem cup . Waddesdon Manor

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42. ^Shearman, 8889, quote from p. 89

43. ^Ebony-work was so prominent that cabinet-makersin Paris began to be called bnistesin the 17th century.

44. ^An extravagant example: Anthony Wells-Cole, "An oak bed at Monmtacute: a study in mannerist decoration," Furniture History:

the Journal of the Furniture History Society, 17(1981:1ff).

45. ^Trevor-Roper, picture p. 88

46. ^Shearman, 168170

47. ^Trevor-Roper, 98101 on Rudolf, and Strong, Pt. 2, Chapter 3 on France, especially pp. 98101, 112113.

48. ^The theme of Strong's book, see especially pp. 77, 857, 1713

49. ^ abWilenski

50. ^Massacres Under the Triumvirate.Louvre

51. ^ abBlunt, 100.

52. ^Jardine and Brotton, 128. The royal tournament grandstand for the 1565 summit between the French and Spanish courts at

Bayonnehad been hung with this gold-and-silk tapestry, which illustrated the triumphofScipio.

53. ^Chastel, 252. The Last Judgement, by Jean Cousin the Younger.

54. ^Shawe-Taylor, 8891. Rudolf's prime version is now in the Royal Collection, other versions show the original details, some of

which are now also showing through thin overpaint on the original.

55. ^Shearman, 28

56. ^Griffiths, 3639

57. ^Harosimowicz, Jan (2002), ""What could be better now than the struggle for freedom and faith", Confessionalization and the

Estates' Quest for Liberation as Reflected in the Silesian Arts of the Sixteenth and Seventeenth Centuries" , from the exhibition

catalogue 1648 War and Peace in Europe, 2002, Westflisches Landesmuseum fr Kunst und Kulturgeschichte, MnsterSee

article for further references.

References [edit]

Blunt, Anthony,Art and Architecture in France: 15001700, 1957, New Haven, CT: Yale University Press, 1999 edition,

ISBN 0-300-07748-3

Malcolm Bull, The Mirror of the Gods, How Renaissance Artists Rediscovered the Pagan Gods, Oxford UP, 2005, ISBN 0-

19-521923-6

Andr Chastel, French Art: The Renaissance, 14301620,translated by Deke Dusinberre, Paris: Flammarion, 1995, ISBN

2-08-013583-X

Freedberg, Sidney J., Painting in Italy, 15001600, 3rd edn. 1993, Yale, ISBN 0-300-05587-0

Anthony Griffiths & Craig Hartley, Jacques Bellange, C.15751616, Printmaker of Lorraine, British Museum Press, 1997,

ISBN 0-7141-2611-X

Jacobsen, Karen, ed. (often wrongly cat. as Georg Baselitz), The French Renaissance in Prints, 1994, p. 470; GrunwaldCenter, UCLA, ISBN 0-9628162-2-1

Lisa Jardineand Jerry Brotton, Global Interests: Renaissance Art Between East And West, London: Reaktion Books,

2005, ISBN 1-86189-166-0

Metzler, Sally,Artists, Alchemists and Mannerists in Courtly Prague, Wamberg, Jacob, ed:Art & alchemy, Museum

Tusculanum Press, 2006, ISBN 87-635-0267-4, ISBN 978-87-635-0267-2

Seymour Slive, Dutch Painting, 16001800, Yale UP, 1995,ISBN 0-300-07451-4

Shawe-Taylor, Desmondand Scott, Jennifer, Bruegel to Rubens, Masters of Flemish Painting, Royal Collection

Publications, London, 2008, ISBN 978-1-905686-00-1

Smyth, Craig Hugh. Mannerism and Maniera, 1992, IRSA, Vienna, ISBN 3-900731-33-0

Shearman, John. Mannerism, 1967, Pelican, London, ISBN 0-14-020808-9

Roy Strong;Art and Power; Renaissance Festivals 14501650, 1984, The Boydell Press; ISBN 0-85115-200-7

Trevor-Roper, Hugh; Princes and Artists, Patronage and Ideology at Four Habsburg Courts 15171633, Thames &

Hudson, London, 1976, ISBN 0-500-23232-6

R.H. Wilenski, Dutch Painting, "Prologue" pp. 2743, 1945, Faber, London

Hans Vlieghe, Flemish Art and Architecture, 15851700, New Haven (CT): Yale University Press/Pelican History of Art,

1998, ISBN 0-300-10469-3

Zerner, Henri, Renaissance Art in France. The Invention of Classicism,translated by Deke Dusinberre, Scott Wilson, and

Rachel Zerner, Paris: Flammarion, 2003, ISBN 2-08-011144-2

External links [edit]

Metropolitan Museum, Timeline of Art History Prague during the Rule of Rudolph II (15831612)

Arms, Armour, and Fine Arts , An article by Peter Kren, with information on mannerist decoration.

Prints & People: A Social History of Printed Pictures , an exhibition catalog from The Metropolitan Museum of Art (fully

available online as PDF), which contains material on and examples of Northern Mannerism

Categories: Mannerism Art movements German Renaissance Northern Renaissance

Art movements in Dutch painting French Renaissance

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