Mannerism 2
Artists that followed the Renaissance in the sixteenth century had the difficult task of succeeding such artists as Raphael, Michelangelo, and the host of other incredible artists of the fourteenth and fifteenth centuries. The artists of the Renaissance were intrigued with nature, the relationship to the Classics, and the application of mathematics to art. By the time the time the Early and High Renaissance were over, many artistic styles relating to these questions had evolved and the quandaries raised had been resolved. The new "problem" for the artists in the sixteenth century was to be able to follow these foot steps, basically forcing artists to ask "what is next?" The answer to such a question is Mannerism, which allowed the individual artist to emulate previous artists and develop a highly personal interpretation of art, keeping within the general concepts of their predecessors. Although capturing nature and the psychology of the subject used was very important to Mannerist artists, such as Jacopo Da Pontormo, Girolamo Francesco Maria Mazzola Parmigianino, Agnoli di Cosimo Bronzino, and Giovanni da Bologna, what became paramount was the infusion of the artist's psychology and interpretation onto the art itself. Manner
The Mannerists chose to make nature even more perfect, and thus, their personal styles and techniques emerged. This deliberate attempt to misshapen the figure helped the Mannerists to take the next step after the artists of the Renaissance.Like Leonardo's The Virgin of the Rocks, the softness of Parmigianino's Madonna's face and expression is exquisite, as are the folds in her dress. The faces of the children are painted with such great gentleness, that the way he painted the rest of their bodies almost becomes irrelevant. The children are inquisitive, yet quiet in their group. The lack of personality in the baby Jesus was also deliberate. He lies sleeping in his mother's arms with light surrounding him, oblivious to what is going on. What this technique does is force the artist to control the important areas that he wanted the artist to see. This painting is definitely about the Madonna, and Parmigianino made sure that the viewer would know that.Bronzino exemplifies the Mannerist style in Allegory with Venus and Cupid (c.1546). To begin with, the composition of this piece is a bit askew in comparison to other Renaissance painters. The figures are enclosed in their space, but appear to be only in the foreground. This gives the illusion that there really is "no space" within the piece. Even though the figures have been arranged in a circular motion around themselves, the depth to the piece is really quite flat. The use of negative space also contributes to the way in which the Mannerists forced the viewer to interact with the work. The eye is guided to the central figure of Venus. The relatively unreal and confused light source also forces the figures to stand out. This technique was used by other Mannerists as well. The light is all around these pieces with no light source apparent; the figures, themselves,emanate the light. The relatively blank area behind and to the right of Venus, adds to the sculptural quality of the portrait common to other Mannerist's work. Bronzino, again, distorted and elongated the bodies of the figures in this painting. The size of Venus' abdomen is huge and sits contorted underneath extended ribs. Her breasts are unnaturally placed on her chest, while her neck is thrown back in a way that the position of the head would never have been able to handle. Cupid's torso is also grossly exaggerated; his back is twisted to almost a painful position. Time's stomach is also stretched and lengthened in the Manneristic style. The use of strong contours in the figures is also the sane as the other Mannerists. The way in which Bronzino painted the extremities of the figures is also consistent with other Mannerists. The presentation of the hands are graceful and elongated adding a beautiful gracefulness to the gesture, while the feet are out of porportion, emphasizing an individual whimsy to the piece. The story that is being told in Allegory with Venus and Cupid shows the mythological influences common to Mannerism and the Renaissance. However, unlike many paintings from the Renaissance that show sexuality in a straightforward, relatively unemotional way, Bronzino's characters are thoroughly enjoying their sexual activity. The passion is great between the two lovers as Venus watches kiss and fondle her. The expression on Time's face is almost mischievous as he watches. Bronzino incorporates much symbolism throughout the piece in using masks. However, unlike Renaissance painters, and like other Mannerist paintings, the true meaning and intent of the symbols are unclear. This allows the viewer to interpret the piece in his own way and keep a curious mystery to the artist's true intent. Sculpture made during this time also captured the Mannerist style and technique. Bologna's Rape of the Sabine Women (completed 1583), exhibits the qualities that
Some common words found in the essay are:
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Approximate Word count = 2572
Approximate Pages = 10 (250 words per page double spaced)
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