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Mannerism

European art that emerged from the late Italian High Renaissance around 1520 and lasted until about 1580 in Italy, when a more Baroque style began to replace it. Northern Mannerism continued until the early 17th century throughout much of Europe.

Mannerism is influenced by, and a reaction to, the harmonious ideals and restrained naturalism from artists like Leonardo da Vinci, Raphael and early Michelangelo. Mannerism has been characterized as "anti-classical” or an exaggerated extension of it, although at the time it was considered a natural progression from the High Renaissance. Only, where High Renaissance art was natural, graceful, balanced and harmonious, the although technically masterful art of Mannerism had compositions full of clashing colors, disquieting figures with abnormally elongated limbs, and bizarre themes combining Classicism, Christianity and mythology.

Mannerism developed between 1510 and 1520 in Florence and Rome. The early Mannerists in Florence - especially the students of Andrea del Sarto: Jacopo da Pontormo and Rosso Fiorentino - are notable for elongated forms, precariously balanced poses, a collapsed perspective, irrational settings, and theatrical lighting. Parmigianino (a student of Correggio) and Giulio Romano (Raphael’s head assistant) were moving in similarly stylized aesthetic directions in Rome.

Michelangelo was one of the great creative exponents of Mannerism. His Sistine Chapel ceiling provided examples for other artists to follow, in particular the figures of ignudi and the Libyan Sibyl.

The second period of Mannerism - High maniera - is commonly differentiated from the earlier "anti-classical" phase. These mannerists stressed intellectual sophistication and artistic virtuosity, features that have led later critics to accuse them of working in an artificial (as opposed to naturalistic) and affected "manner" (maniera) imitating art, rather than imitating nature.
Based largely at courts and in intellectual circles around Europe, Maniera art couples exaggerated elegance with exquisite attention to surface and detail: porcelain-skinned figures recline in an even, tempered light, regarding the viewer with a cool glance, if at all. The Maniera subject rarely displays an excess of emotion, and for this reason are often interpreted as 'cold' or 'aloof'.

A number of the earliest Mannerist artists who had been working in Rome during the 1520s fled the city after the Sack of Rome in 1527. As they spread out across the continent in search of employment, their style was distributed throughout Italy and Europe and therefore became the first international artistic style since the Gothic. The style waned in Italy after 1580, as a new generation of artists, including the Carracci brothers, Caravaggio and Cigoli, reemphasized naturalism. Outside of Italy however mannerism continued into the 17th century.

Mannerists besides above mantioned: Agnolo Bronzino, Giorgio Vasari, Jacopo da Pontormo, Rosso Fiorentino & the School of Fontainebleau, Alessandro Allori, Tintoretto, El Greco and Benvenuto Cellini.

(The term Mannerism also refers to some Late Gothic painters working in northern Europe from about 1500 to 1530, especially the Antwerp Mannerists, a group unrelated to the Italian movement.)

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Associated subjects: netherlandish artists (+), reformation (+), painting (+), jan gossart (+), high renaissance (+), mannerist period in italy (+), drawing (+), late medieval art in northern europe (+), gothic (+), northern italy (+), baroque (+), albrecht durer (+), human figure (+), venetian (+), later works (+), artistic ideals of the high renaissance (+), parma, bologna (+), fontainebleau (+), northern artists (+), auricular ornament (+), leonardo da vinci (+), titian (+), early renaissance (+), fra angelico (+), vivarini (+), albrecht altdorfer (+), filippo brunelleschi (+), late renaissance (+), parmigianino (+), renaissance art (+)

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