proud youth—a man of books and intellectual society, rather than a
merchant or lowly laborer. His cool demeanor seems carefully af-
fected, a calculated attitude of nonchalance. This staid and reserved
formality is a standard component of Mannerist portraits. It asserts
the rank and station but not the personality of the subject. In
Bronzino’s portrait, the haughty poise, the graceful long-fingered
hands, the book, the carved faces of the furniture, and the severe ar-
chitecture all suggest the traits and environment of the highbred,
disdainful patrician. The somber black of the young man’s Spanish
doublet and cap and the room’s slightly acid, olive-green walls make
for a deeply restrained color scheme. Bronzino created a muted
background for the man’s sharply defined, asymmetrical silhouette
that contradicts his impassive pose.
SOFONISBA ANGUISSOLAThe aloof formality of Bronzino’s
portrait is much relaxed in the portraiture ofSofonisba Anguis-
sola(ca. 1532–1625). A northern Italian from Cremona, Anguissola
introduced a new kind of group portrait of irresistible charm, charac-
terized by an informal intimacy and subjects that are often moving,
conversing, or engaged in activities. Like many of the other works she
did before moving to Spain in 1559, the portrait illustrated here (FIG.
22-46) represents members of her family. Against a neutral ground,
Anguissola placed her two sisters and brother in an affectionate pose
meant not for official display but for private showing. The sisters,
wearing matching striped gowns, flank their brother, who caresses a
lapdog. The older sister (at the left) summons the dignity required
for the occasion, while the boy looks quizzically at the portraitist with
an expression of naive curiosity, and the other girl diverts her atten-
tion toward something or someone to the painter’s left.
Anguissola’s use of relaxed poses and expressions, her sympa-
thetic personal presentation, and her graceful treatment of the forms
did not escape the attention of her contemporaries, who praised her
highly (see “Women in the Renaissance Art World,” page 611). Her
recognized talents allowed her to consort with esteemed individuals.
She knew and learned from the aged Michelangelo, was court
painter to Philip II (r. 1556–1598) of Spain, and, at the end of her
life, gave advice on art to a young admirer of her work, Anthony Van
Dyck, the great Flemish master (see Chapter 25).TINTORETTO Venetian painting of the later 16th century built
on established High Renaissance ideas but incorporated many ele-
ments of the Mannerist style. Jacopo Robusti, known as Tintoretto
(1518–1594), claimed to be a student of Titian and aspired to com-
bine Titian’s color with Michelangelo’s drawing, but art historians
consider Tintoretto the outstanding Venetian representative of Man-
nerism. He adopted many Mannerist pictorial devices, which he em-
ployed to produce works imbued with dramatic power, depth of
spiritual vision, and glowing Venetian color schemes.
Toward the end of Tintoretto’s life, his art became spiritual, even
visionary, as solid forms melted away into swirling clouds of dark shot
through with fitful light. In Tintoretto’s Last Supper (FIG. 22-47),
painted for the right wall next to the high altar in Andrea Palladio’sMannerism 61522-47Tintoretto,Last Supper,1594. Oil on canvas, 12 18 8 . San Giorgio Maggiore, Venice.
Tintoretto adopted many Mannerist pictorial devices to produce oil paintings imbued with emotional power, depth of spiritual vision, glowing
Venetian color schemes, and dramatic lighting.
1 ft.