Gardners Art through the Ages A Global History

Mannerism

The Renaissance style of Rome, Florence, and Venice dominated Italian

painting, sculpture, and architecture for most of the 16th century, but

already in the 1520s another style—Mannerism—emerged in reaction

to it.Mannerism is a term derived from the Italian word maniera,

meaning “style” or “manner.” In the field of art history, the term style

usually refers to a characteristic or representative mode, especially of an

artist or period (for example, Leonardo’s style or Gothic style). Style

also can refer to an absolute quality of fashion (for example, someone

has “style”). Mannerism’s style (or representative mode) is character-

ized by style (being stylish, cultured, elegant).

Painting

Among the features most closely associated with Mannerism is arti-

fice. Of course, all art involves artifice, in the sense that art is not

“natural”—it is a representation of a scene or idea. But many artists,

including High Renaissance painters such as Leonardo and Raphael,

chose to conceal that artifice by using such devices as perspective

and shading to make their art look natural. In contrast, Mannerist

painters consciously revealed the constructed nature of their art. In

other words, Renaissance artists generally strove to create art that

appeared natural, whereas Mannerist artists were less inclined to dis-

guise the contrived nature of art production. This is why artifice is a

central feature of discussions about Mannerism, and why Mannerist

works can seem, appropriately, “mannered.” The conscious display

of artifice in Mannerism often reveals itself in imbalanced composi-

tions and unusual complexities, both visual and conceptual. Am-

biguous space, departures from expected conventions, and unique

presentations of traditional themes also surface frequently in Man-

nerist art.

PONTORMOEntombment of Christ (FIG. 22-42) by Jacopo da

Pontormo(1494–1557) exhibits almost all the stylistic features char-

612 Chapter 22 ITALY,1500 TO 1600

22-42Jacopo da Pontormo,Entombment of Christ,Capponi

Chapel, Santa Felicità, Florence, Italy, 1525–1528. Oil on wood,

10  3  6  4 .

Mannerist paintings such as this one represent a departure from the

compositions of the earlier Renaissance. Instead of concentrating

masses in the center of the painting, Pontormo left a void.

22-43Parmigianino,Madonna with the Long Neck,from the Baiardi

Chapel, Santa Maria dei Servi, Parma, Italy, 1534–1540. Oil on wood,

7  1  4  4 . Galleria degli Uffizi, Florence.

Parmigianino’s Madonna displays the stylish elegance that was a prin-

cipal aim of Mannerism. Mary has a small oval head, a long slender

neck, attenuated hands, and a sinuous body.

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