lecture 16b mannerism cond - art history with ivy dally · 2019-12-02 · mannerism: artistic...
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Chapter 16Chapter 16
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Mannerism: Artistic Reaction to the Greats
� Maniera: “THE” style, which builds on the achievements of Michelangelo and Raphael
� Technical virtuosity, twining figures, uncertain perspective.figures, uncertain perspective.
� Subject matter purposely unclear
� Sophisticated, unusual compositions
� Beautiful, elongated figures replace classical bodies
� Artists striving for originality and personal expression.
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Jacopo Pontormo, Deposition from the Cross, 1525-1528. Compare to the Renaissance version of the same subject by Fra. Angelico.
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Rosso Fiorentino, The Descent from the Cross, 1521. Figure 16.2
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Tomb of Giuliano de' Medici, 1526-33Marble, 630 x 420 cmNew Sacristry, San Lorenzo, Florence
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Details of Day and Night, 1526-33Marble, New Sacristry, San Lorenzo, Florence
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� Allegory is to represent an idea with physical form; a type of iconography.
Bronzino. Allegory of Venus, ca. 1546. Oil on canvas. Gift from the Medici to the King of France.
type of iconography.
� Father time (bald man)
� Fraud (theater mask)
� Venus and Cupid
� Folly (with roses)
� Pain (tears at head)
� Pleasure (half-woman, half-snake)
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Bronzino, Eleanor of Toledo, oil on wood, 1544-45
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Parmigianino, The Madonna with the Long Neck, ca. 1535. Unfinished at the time of Parmigianino’s death.
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Renaissance Art and Architecture Questioned
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The Church Reacts to the Protestant Reformation
� Martin Luther and other protestants in the North questioned the doctrine and authority of the church.
� They insisted the intervention of the saints and the church clergy was
� They insisted the intervention of the saints and the church clergy was unnecessary for salvation. Religious authority was transferred from the Pope to the individual.
� The church used the visual arts as a means to bring the faithful back to the Church. Changes in the arts of Rome leads to the Baroque era.
Portrait of Martin Luther in 1533.
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MICHELANGELO BUONARROTI, Last Judgment, altar wall of the Sistine Chapel, Vatican City, Rome, Italy, 1536–1541. Fresco, 48’ x 44’.
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� Michelangleo, St. Peter’s Dome.
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Engraving and Wood Model of St. Peter’s Basilica, Rome, 1546-1564
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Wood Model of St. Peter’s Dome, Rome, 1546-1564
Elevation Drawing and Ground Plan with Michelangelo’s Changes to Bramante’s Vision of St. Peter’s Basilica, Rome, 1546-1564
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St. Peter’s Basilica with 17th century Piazza by Bernini and Nave and Façade by Madermo.
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Dome of St Peter's, completed 1564Basilica di San Pietro, Vatican
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Views of the Dome