Dictionary
Manierism
Mannerism can be understood as a late Renaissance form, as well as an independent epochal concept, although the mannerist, late Renaissance, and early Baroque periods cross over. The mannerist style emerged in Italy between c. 1520 and 1600, and mannerist tendencies were visible in Northern European art until the mid-17th century.
Luigi Lanzi first used the term at the end of the 18th century, although an artist’s individual style was referred to as his "maniera" from the 14th century, which developed into the (initially negative) stylistic term. Mannerism was a conscious emulation of the manner of Renaissance artists. This imitation frequently led to a use of highly exaggerated classical Renaissance norms.
In painting, the absence of focal point became limitless. Artists placed fore- and backgrounds in unclear relation to one other, and suggested tension, by using disconcerting colour contrasts. Figures were characteristically portrayed with extended limbs, small heads, and elongated proportions. The typical mannerist "figura serpentinata" was the result of an exaggerated classical contraposto. Viewing sculptures from all sides became a central aim, and small-scale sculptures, played increasingly important role.
In architecture, classical forms were approached in a playful way, and rich, decorative figures adorned the buildings. Nave-like buildings replaced the centrally planned building of the High Renaissance.
Mannerism was the preferred style of many European courts, such as Chateau Fontainebleau, and in the Prague and Munich courts. In the Netherlands, Cornelius Floris developed new forms of ornament, which became known as the Floris style.
The main representatives of mannerism include Andrea del Sarto, Rosso Fiorentino, Giuseppe Arcimboldo, Benvenuto Cellini, Giambologna, El Greco, Parmigianino, Pontormo, Giulio Romano, Bartholomäus Spranger and Adriaen de Vries.
Mannerism can be understood as a late Renaissance form, as well as an independent epochal concept, although the mannerist, late Renaissance, and early Baroque periods cross over. The mannerist style emerged in Italy between c. 1520 and 1600, and mannerist tendencies were visible in Northern European art until the mid-17th century.
Luigi Lanzi first used the term at the end of the 18th century, although an artist’s individual style was referred to as his "maniera" from the 14th century, which developed into the (initially negative) stylistic term. Mannerism was a conscious emulation of the manner of Renaissance artists. This imitation frequently led to a use of highly exaggerated classical Renaissance norms.
In painting, the absence of focal point became limitless. Artists placed fore- and backgrounds in unclear relation to one other, and suggested tension, by using disconcerting colour contrasts. Figures were characteristically portrayed with extended limbs, small heads, and elongated proportions. The typical mannerist "figura serpentinata" was the result of an exaggerated classical contraposto. Viewing sculptures from all sides became a central aim, and small-scale sculptures, played increasingly important role.
In architecture, classical forms were approached in a playful way, and rich, decorative figures adorned the buildings. Nave-like buildings replaced the centrally planned building of the High Renaissance.
Mannerism was the preferred style of many European courts, such as Chateau Fontainebleau, and in the Prague and Munich courts. In the Netherlands, Cornelius Floris developed new forms of ornament, which became known as the Floris style.
The main representatives of mannerism include Andrea del Sarto, Rosso Fiorentino, Giuseppe Arcimboldo, Benvenuto Cellini, Giambologna, El Greco, Parmigianino, Pontormo, Giulio Romano, Bartholomäus Spranger and Adriaen de Vries.
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