mannerism (1520-1600)
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Mannerism (1520-1600). The Changing Role of the Artist. Giorgio Vasari ’s Lives of the Artists , 1568. The Changing Role of the Artist. He believed that the artist was no longer just a member of a crafts guild. The Changing Role of the Artist. The artist was an equal - PowerPoint PPT PresentationTRANSCRIPT
The Changing Role of the Artist
The Changing Role of the Artist
Giorgio Vasari’s Lives of
the Artists, 1568.
The Changing Role of the Artist
The Changing Role of the Artist
He believed that theartist was no longer just amember of acrafts guild.
The Changing Role of the Artist
The Changing Role of the Artist
The artist was an equal in the courts of Europe
with scholars, poets,
& humanists.
The Changing Role of the Artist
The Changing Role of the Artist
Therefore, the artist shouldbe recognized and rewarded for his unique artistic technique [maneria].
BackgroundBackground Late Renaissance [Pre-
Baroque]. Art was at an impasse
after the perfection and harmony of the Renaissance.
BackgroundBackground Antithetical (contradictary)
to the principles of the High Renaissance.
From the Italian de maneria. A work of art done in the artist’s characteristic “touch” or recognizable “manner.”
BackgroundBackground First used by the
German art historian, Heinrich Wölfflin in the early 20c.
Influenced by Michelangelo’s later works.
Michelangelo’s
“Last Judgment”
(Sistine Chapel)
Michelangelo’s
“Last Judgment”
(Sistine Chapel)
Michelangelo’s “Last Judgment”
(Sistine Chapel – left side)
Michelangelo’s “Last Judgment”
(Sistine Chapel – left side)
Michelangelo’s “Last Judgment”
(Sistine Chapel – right side)
Michelangelo’s “Last Judgment”
(Sistine Chapel – right side)
1. Replace Harmony With Dissonance & Discord
1. Replace Harmony With Dissonance & Discord
“Susanna & the Elders”
Alessandro Allori
Twisted bodies or “weight shift” [contrapposto]
2. Replace Reason with Emotion2. Replace Reason with Emotion
“Pietà” by Rosso Fiorentino 1530-1540
“Pietà” by El Greco 1587-1597
3. Replace Reality with Imagination
3. Replace Reality with Imagination
“The Mystic Marriage of St. Catherine”
Parmigianino
1525-1527
4. Create Instability Instead of Equilibrium
4. Create Instability Instead of Equilibrium “The Rape
of Helene”
Francesco Primaticcio
1530-1539
5. Bodies Are Distorted
5. Bodies Are Distorted “Christ in Agony
on the Cross”
El Greco
1600s.
An attempt to express the religious tensions of the times.
“Adoration of theName of Jesus”
El Greco
1578-1580.
“The Baptism of Christ”
El Greco
1608-1628.
“Portrait of a Cardinal”
El Greco
1600
6. Colors are Lurid (vivid or sensational )
6. Colors are Lurid (vivid or sensational )
“The Tempest”
Giorgione
1510
“The Calling of St. Matthew”
Caravaggio
“The View from Toledo”
El Greco
1597
7. Pictoral Space is Crowded
7. Pictoral Space is Crowded “Madonna
with the Long Neck”
Parmagianino
1534-1540
“Joseph in Egypt”
JacomoPontormo
“The Last Supper” Tintoretto 1594
8. A Void in the Center8. A Void in the Center
“Bacchus & Ariadne”
Titian
1522-1523
??
“Pastoral Concert”
Giorgione
1508-1510
??
9. Hanging Figures9. Hanging Figures
“The Annunciation”
Jacopo Tintoretto
1583-1587
“Moses Drawing Water form the Rock”
Jacopo Tintoretto
1577
Characteristics of Mannerist Architecture
Characteristics of Mannerist Architecture
Stylishness in design could be applied to a building as well as to a painting.
Showed extensive knowledge of Roman architectural style.
Complex, out of step style taking “liberties” with classical architecture.
Architecture, sculpture, and walled gardens were seen as a complex, but not necessary unified whole.
Villa Capra[or Villa Rotunda]
By AndreaPalladio
1566-1571
“Palladian” architectural style [popular in England]
Entrance to the Villa Farnese at Caprarola
By Giacomo Vignola
1560
Giacomo da Vignola
Wrote The Rule of the Five Orders of Architecture
1563
Became a key reference work for architects.
The Fontainebleau School
The Fontainebleau School
French Mannerism flourished from 1531 to the early 17c.
The Fontainebleau School
The Fontainebleau School
Characteristics: Extensive use of stucco in moldings & picture frames.
The Fontainebleau School
The Fontainebleau School
Frescoes. painting on a moist, plaster surface with colors ground up in water or a limewater mixture
An elaborate [often mysterious] system of allegories and mythical iconography.
Centered around the Royal Chateau of Fontainebleau.
The Royal Chateau at Fontainebleau
The Royal Chateau at Fontainebleau
Gallery [right] by Rosso Fiorentino & Francesco Primaticcio
1528-1537
Jean GoujonJean Goujon
“Nymph,”1548-1549
“Nymph & Putto,”1547-1549
BaroqueBaroque 1600 – 1750
From a Portuguese word “barocca”, meaning “a pearl of irregular shape.”
BaroqueBaroque
Implies strangeness, irregularity, and extravagance.
The more dramatic, the better!
Baroque Style of Art & Architecture
Baroque Style of Art & Architecture
Emotional.
Colors were brighter than bright;
darks were darker than dark.
Baroque Style of Art & Architecture
Baroque Style of Art & Architecture
Counter-Reformation art.
Paintings & sculptures in church contextsshould speak to the illiterate rather than to the well-informed.
Ecclesiastical art.
St. Peter’s Basilica, Vatican
City
by Gialoren
zo Bernini
St. Peter’s Basilica, Vatican
City
by Gialoren
zo Bernini
Church of Santiago de Compostella, Spain
Church of Santiago de Compostella, Spain
Church of Veltenberg Altar, Germany
Church of Veltenberg Altar, Germany
Interior of a Dominican Church in Vilnius
Interior of a Dominican Church in Vilnius
“St. Francis in Ecstasy”Caravaggio, 1595
“St. Francis in Ecstasy”Caravaggio, 1595
“The Flagellatio
n of Christ”
by Caravaggi
o
“The Flagellatio
n of Christ”
by Caravaggi
o
“David and
Goliath” by
Caravaggio
“David and
Goliath” by
Caravaggio
“Salome with the Head of the Baptist”
by Caravaggio
“Salome with the Head of the Baptist”
by Caravaggio
“The Cardsharps”Caravaggio, 1595“The Cardsharps”Caravaggio, 1595
“Self-Portrait: The Artist”
ArtemisiaGentileschi,1638-1639
“Self-Portrait: The Artist”
ArtemisiaGentileschi,1638-1639
The 1st woman
accepted into the Academy of Drawing in
Florence
The 1st woman
accepted into the Academy of Drawing in
Florence
“Susanna
& the Elders”
Artemisia
Gentileschi,
1610
“Susanna
& the Elders”
Artemisia
Gentileschi,
1610
“The Dead Christ Mourned”
Annibale Carracci, 1603
“The Dead Christ Mourned”
Annibale Carracci, 1603
“Joseph’s Bloody Coat Brought to Jacob”
Diego Velázquez, 1630
“Joseph’s Bloody Coat Brought to Jacob”
Diego Velázquez, 1630
“Christ on the Cross”
Diego Velázquez,
1632
“Christ on the Cross”
Diego Velázquez,
1632
“Las Meninas”
or “The Maids of Honor”Diego
Velázquez
1656
“Las Meninas”
or “The Maids of Honor”Diego
Velázquez
1656
Student Report
Rubens, Valaquez,
Bernini
Student Report
Rubens, Valaquez,
Bernini
“St. Bonaventure
on His Deathbed”
Francisco de Zurbarn,
1629
“St. Bonaventure
on His Deathbed”
Francisco de Zurbarn,
1629
“The Elevation of the Cross”
by Peter Paul
Reubens
1610-11
“The Elevation of the Cross”
by Peter Paul
Reubens
1610-11
“The Lamentat
ion”
by Peter Paul
Reubens
1609-11
“The Lamentat
ion”
by Peter Paul
Reubens
1609-11
“Battle of the Amazons”Peter Paul Reubens
“Battle of the Amazons”Peter Paul Reubens
“A Village Fête”Peter Paul Reubens
“A Village Fête”Peter Paul Reubens
“The Ecstasy of St.
Theresa of Avila”
by Gianlorenzo
Bernini
1647-52
“The Ecstasy of St.
Theresa of Avila”
by Gianlorenzo
Bernini
1647-52
“A Bust of Louis XIV”by Bernini
“A Bust of Louis XIV”by Bernini
“A Bust of Cardinal Richelieu”by Bernini
“A Bust of Cardinal Richelieu”by Bernini
Baroque FurnitureBaroque Furniture
Baroque FurnitureBaroque Furniture
A Baroque RoomA Baroque Room
Giovanni Francesco Marchini,
1702-1736
Giovanni Francesco Marchini,
1702-1736
Nicolas Poussin
greatest French artist of the 17th century, the founder of his country's classical
school.
Nicolas Poussin
greatest French artist of the 17th century, the founder of his country's classical
school.
Student Report
Poussin &
Rembrand
t
Rembrandt, “Self
Portrait”
Student Report
Poussin &
Rembrand
t
Rembrandt, “Self
Portrait”
Nicolas Poussin
With him, French painting shook off its
provinciality and became a European affair, mirroring the power of its grand century, the age of
Louis XIV.
Nicolas Poussin
With him, French painting shook off its
provinciality and became a European affair, mirroring the power of its grand century, the age of
Louis XIV.
“Abduction of the Sabine Women” by Poussin
“Abduction of the Sabine Women” by Poussin
Alsoreferred toAs “The Rape of the Sabine Women.” 1633-34
Student ReportMichel de Montaigne
Student ReportMichel de Montaigne
Student Report
Cervantes&
Shakespeare
Student Report
Cervantes&
Shakespeare
Shakespeare