User:Kaitlin Molden

“Characteristics of Mannerism"

Mannerism was an anti-classical movement which differed greatly from the aesthetic ideologies of the Renaissance. (5) Though Mannerism was initially accepted as a positive connotation based on the writings of Vasari, (5) it was later regarded in a negative light because it solely view as, "an alteration of natural truth and a trite repetition of natural formulas." (6) As an artistic moment, Mannerism involves many characteristics that are unique and specific to much of the experimentation of artworks. Below is a list of many specific characteristics that Mannerist artists would employ in their artworks.

• Elongation of Figures: For many Mannerist painters, the distortion of the human figure allowed for the opportunity of creating an image of elegance, though it is often attributed to bizarre imagery.  (109)
• Distortion of Perspective: For Mannerist artists, the distortion of perspective was a means for exploration into the ideals of perfection and creating unique imagery. At times, when extreme distortion was utilized, it would render the image nearly impossible to decipher. One way to accomplish this tactic was by using foreshortening.  (113)
• Black Backgrounds: Mannerist artists often utilized flat back backgrounds to give a full contrast of contours, in order to create dramatic scenes. Black backgrounds also contributed to a sense of fantasy with the subject matter.  (124)
• Use of darkness and light: Many Mannerists were interested in capturing the essence of the night sky with the use of intentional illumination, often creating a sense of fanatical scenes. Additionally, was the attention to torch and moonlight to create dramatic scenes. (134)

• Sculptural forms: Mannerism was greatly influenced by sculpture, which gained popularity in the sixteenth century. As a result, Mannerist artists often based their human bodies off sculptures and prints, which allowed them to create dimensions. (95)
• Clarity of Line: The attention paid to clean outlines of figures was prominent of Mannerism and differs largely from the Baroque and High Renaissance. The outlines of figures often allowed for more attention to detail.  (87)
• Composition and Space: Mannerist artists rejected the ideals of the Renaissance using one-point perspective. Instead, there was an emphasis on atmospheric effects and distortion of perspective. The use of space in Mannerist works instead privileged crowded compositions with various forms or scant compositions with emphasis on black backgrounds.  (142)
• Mannerist Movement: The interest in the study of human movement often attributed to creating serpentine positions. These positions often anticipate the features of future positions because of their often-unstable motions and attribute to the artist’s experimentation of form. (118)
• Painted Frames: Painted frames were utilized to blend in with the background of paintings and at times, contribute to the overall composition of the art work. This is at times prevalent with special attention paid to ornate detailing. (129)

• Atmospheric Effects: Many Mannerists utilized the technique of sfumato, known as, “the rendering of soft and hazy contours or surfaces” in their paintings for rendering the streaming of light.  (141)
• Mannerist Color: An unique aspect of Mannerism was in addition to the experimentation of form, composition, and light, much of the same curiosity was applied to color. Many artworks toyed with pure and intense hues of blues, green, pinks, and yellows, which at times detract from the overall design of artworks, and at other times, compliment it. Additionally, when rending skin tone, artists would often concentrate on create overly creaming and light complexions and often utilize undertones of blue. (148)

“Mannerist Artists”

Jacopo da Pontormo

Jacopo Pontomormo's work has been known as some of the most important contributions to Mannerism. (AG) Much of his subject matter drew upon religious narratives and he was highly influenced by the work of Michelangelo (AG) and sculpture for rendering human forms.(3) A well known element of his work is the rendering of gazes by various figures which often pierce out at the viewer in various directions. (4) Dedicated to his work, Pontormo, often expressed anxiety about the quality of his work and was known to work slow and methodically. (3) His legacy is highly regarded, as he influenced artists such as Agnolo Bronzino and the aesthetic ideals of late Mannerism. (AG)

Pontomoro’s Jospeh in Egypt, painted in 1517, portrays a running narrative of four scenes in which Joseph reconnects with his family. On the left side of the composition, Pontomoro depicts a scene of Joseph introducing his family to the pharaoh of Egypt. On the right, Joseph is riding on a rolling bench, as cherubs fill the composition around him in addition to other figures and large rocks on a path in the distance. Above these scenes, is a spiral staircase which Joseph guides one his sons to their mother a the top. The final scene, on the right, is the final stage of Jacob's death as sons watch nearby. (21)

Jacopo da Pontormo's Joseph in Egypt features many Mannerist elements. One element is utilization of incongruous colors such as various shades of pinks and blues which make up a majority of the canvas. An additional element of Mannerism is the incoherent handling of time about the story of Joseph through various scenes and use of space. Through the inclusion of the four different narratives, Ponotormo creates a cluttered composition and overall sense of busyness.

Agnolo Bronzino

Angolo Bronzino was a pupil of Pontormo,(5) whose style was very influential and often confusing in terms of figuring attribution. (6) In his career, Bronzino also collaborated with Vasari as a set designer for the production, "Comedy of Magicians", where he contributed many portraits. (20) Bronzino's work was sought after, and enjoyed great success when he became a court painter for the Medici family in 1539. (27) A unique Mannerist characteristic of Bronzino's work was the rendering of milky complexions. (20)

In the painting, Allegory of Venus and Cupid, Folly and Time, Bronzino portrays an erotic scene that leaves the viewer with more questions than answers. In the foreground, Cupid and Venus and nearly engaged in a kiss, but pause as if caught in the act. Above them, are mythological figures, Father Time on the right, who pulls a curtain to reveal the pair and the representation of the Goddess of night on the left. Additionally, the composition also involves a grouping of masks, a hybrid creature comprised of features of a girl and a serpent, and a man depicted in agonizing pain. Many theories are available for the painting, such as it conveying the dangers of syphilis, or that the painting functioned as a court game. (663)

Mannerist portraits by Agnolo Bronzino are distinguished by a serene elegance and meticulous attention to detail. As a result, Bronzino's sitters have been said to project an aloofness and marked emotional distance from the viewer. There is also a virtuosic concentration on capturing the precise pattern and sheen of rich textiles. Specifically, within the Allegory of Venus, Cupid, Folly and Time, Bronzino utilizes the tactics of Mannerist movement, attention to detail, color, and sculptural forms. Evidence of Mannerist movement is apparent in the awkward movements of Cupid and Venus, as they contort their bodies to partly embrace. Particularly, Bronzino paints the complexion with the many forms as a perfect porcelain white with a smooth effacement of their muscles which provides a references to the smoothness of sculpture.

“El Greco”

El Greco’s style was a culmination of unique developments based on his Greek heritage and travels to Spain and Italy. El Greco's work reflects a multitude of styles including Byzantine elements as well as the influence of Caravaggio and Parmigianino in addition to Venetian coloring. An important element of El Greco's work is his attention to color as he regarded it to be one of the most important aspects of his painting (47-49). Over the course of his career, El Greco's remained in high demand as he completed important commissions in locations such as the Colegio de Doña María de Aragón in Madrid.

El Greco’s unique painting style and connection to Mannerist characteristics is especially prevalent in the work, Laocoon. Painted in 1610 (245) it depicts the mythological tale of Laocoon, who warned the Trojans about the danger of the wooden horse which was presented by the Greeks as peace offering to the goddess, Minerva. As a result, Minerva retaliated in revenge by summoning serpents to kill Laocoon and his two sons. Instead of being set against the backdrop of Troy, El Greco situated the scene near Toledo, Spain in order to, “universalize the story by drawing out its relevance for the contemporary world.” (245)

El Greco’s unique style in Laocoon exemplifies many Mannerist characteristics. One that they are prevalent is the elongation of many of the human forms throughout the composition in conjunction with their serpentine movement, which provides a sense of elegance. An additional element of Mannerist style is the atmospheric effects in which El Greco creates a hazy sky and blurring of landscape in the background.  

“Jacopo Tintoretto”

Jacopo Tintoretto has been known for his vastly different contributions to Venetian painting after the legacy of Titan. His work, which differed greatly from his predecessors, had been criticized by Vasari for its, "fantastical, extravagant, bizarre style." (13) Within his work, Tinitoretto adopted Mannerist elements that have distanced him from the classical notion of Venetian painting, as he often created artworks which contained elements of fantasy and retained naturalism. (25) Other unique elements of Tintoretto's work include his attention to color, especially as he often utilized rough brushstrokes (33) and experimentation with pigment to create illusion. (33)

An artwork that is associated with Mannerist characteristics is the Last Supper; it was commissioned by Michele Alabardi for the San Giorgio Maggiore in 1591 (234). In Tintoretto’s Last Supper, the scene is portrayed from the angle of group of people along the right side of the composition. On the left side of the painting, Christ and the Apostles occupy one side of the table and single out Judas.  Within the dark space, there are few sources of light; on source is emitted by Christ’s halo and hanging torch above the table.  

In its distinct composition, The Last Supper portrays Mannerist characteristics. One characteristic that Tintoretto utilizes is a black background. Though the painting gives some indication of an interior space through the use of perspective, the edges of the composition are mostly shrouded in shadow which provides drama for the central scene of The Last Supper. Additionally, Tintoretto utilizes the spotlight effects with light, especially with the halo of Christ and the hanging torch above the table. A third Mannerist characteristic that Tintoretto employs are the atmospheric effects of figures shaped in smoke and float about the composition.  

"Giuseppe Arcimboldo"

Arcimboldo is most readily known for his artworks that incorporate still life and portraiture. (167) His style is readily viewed as Mannerist with the assemblage style of fruits and vegetables in which its composition can be depicted in various ways--ride side up and upside down.(167) Arcimboldo's artworks have also applied to Mannerism in terms of humor that it conveys to viewers, because it does not hold the same degree of seriousness as Renaissaince works. (199) Stylistically, Arcimboldo's paintings are known for their attention to nature and concept of a "monstrous appearance." (199)

One of Arcimboldo's paintings which contains various Mannerist characteristics is, Vertumnus. Painted against a black background is a portrait of Rudolf II, who body is comprised of various vegetables, flowers, and fruits. (199) The painting is viewed as various levels as a joke and conveying a serious message. The joke of the painting communicates the humor of power which, is that Rudolf is hiding a dark inner self behind his public image. (199). On the other hand, the serious tone of the painting foreshadows the good fortune that would be prevalent during the reign of Rudolf II. (199)

Vertumnus contains various Mannerist elements in terms of its composition and message. One element is the flat, black background which Arcimboldo utilizes to emphasize the status and identity of Rudolf II as well as highlighting the fantasy of his reign. In the portrait of Rudolf II, Arcimboldo also strays away from the "nuaturalistsic representation" of the Renaissance, and explores with composition by constructing him from a jumble of fruits, vegetables, plants and flowers. Another element of Mannerism which the painting portrays is the dual narrative of a joke and serious message; humor wasn't normally utilized in Renaissance artworks.

Sources:

Lambraki-Plaka, Marina (1999). El Greco-The Greek. Kastaniotis. ISBN 960-03-2544-8.

Marías, Fernando. 2003 "Greco, El." Grove Art Online. 2 Apr. 2019. http://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000034199.

Davies, David, Greco, J. H Elliott, Metropolitan Museum of Art (New York, N.Y.), and National Gallery (Great Britain). El Greco. London: National Gallery Company, 2003.

Smart, Alastair. The Renaissance and Mannerism in Northern Europe and Spain. The Harbrace History of Art. New York: Harcourt Brace Jovanovich, 1972.

Nichols, Tom. Tintoretto : Tradition and Identity. London: Reaktion, 1999.

Marchetti Letta, Elisabetta, Jacopo Da Pontormo, and Rosso Fiorentino. Pontormo, Rosso Fiorentino. The Library of Great Masters. Antella, Florence: Scala, 199

Cox-Rearick, Janet. "Pontormo, Jacopo da." Grove Art Online.11 Apr. 2019. http://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000068662.

Kaufmann, Thomas DaCosta. Arcimboldo : Visual Jokes, Natural History, and Still-Life Painting. Chicago: University of Chicago Press, 2010. Accessed April 11, 2019. ProQuest Ebook Central.

Stokstad, Marilyn, and Michael Watt Cothren. Art History. 4th ed. Upper Saddle River, NJ: Pearson/Prentice Hall, 2011.

Edit Recommendations

This is very well written! I don't have many things to suggest, because you seem like you have a solid grasp on what you want to say about Mannerism and how you want to say it. What you have written is very clear and easy to understand. I bet you have the sources for Mannerism lined up, but I would make sure that you have them all added in when you have officially added this to the current Mannerism wiki page. There are a few small clarifications that I think should be made:

-What were the new influences that you mentioned for Renaissance Mannerism? Are there any specific ones that had a large influence, and if so why?

-In the second paragraph, you mention that Mannerism in the Renaissance was not as highly regarded as it was in earlier times, is there a reason for that? Or is it something that is not entirely agreed upon?

-"Mannerism wasn’t fully appreciated..." By saying appreciated do you mean recognized as a legitimate style of art?

- Who is Max Dvorak? Why is he credible in relation to Mannerism?

- Are these themes/techniques that you listed specific to Renaissance Mannerism, or Mannerism as a whole?

- I would recommend reworking this sentence: "Additionally, was the attention to torch and moonlight to create dramatic scenes." I found that it didn't flow well and was kind of confusing.

- For the artists, are these more that you are adding to the page, or are these the only ones that fit into Renaissance Mannerism?

- Are there any other wiki pages that you want to hyperlink in this section of the article?

- Are there any pieces of art that you would like to add to your section to help in your explanation?

Seriously, great job with writing this! It was very interesting and will benefit the existing article! I also apologize for adding this at the last actual second. I copy and pasted your article into a word doc and then wrote my edit and completely spaced on posting it to your sandbox.

If you have any questions or need clarification, please let me know!

- Maren Connell