Пользовательское соглашение
ГлавнаяО проектеГалерея картинЖивописьдизайн интерьераКиноВход

In this section our website you will find articles for aesthetes of the world of beauty - design and art.



Welcome to our website! The site has been around since 2006, and numerous enthusiasts have contributed to its creation and content to provide you with engaging film reviews, interesting articles on interior styles and design, as well as captivating stories about paintings, artists, museums, and unusual travel destinations.

Our film reviews offer a deep and comprehensive analysis of individual movies. We not only consider the plot and acting but also cinematography, musical accompaniment, and the overall atmosphere of the film. Whether it's new releases or classics, we strive to give you a complete understanding of the movie.

Our articles on interior styles and design will help you bring your boldest ideas for your home to life. We share tips on furniture selection, color schemes, lighting, and accessories to create a harmonious and cozy environment. You will learn about different interior styles, their characteristics, and the elements that will help you embody your chosen style.

Not only films and design, but we also delve into paintings and artists who inspire the world of art. We offer interesting stories about famous artworks and talented artists. Additionally, we explore the world of museums and provide detailed descriptions of the most astonishing and unusual travel destinations where you can enjoy beautiful works of art.

Mannerism

 
Arcimboldo, Giuseppe 1527-1593
Bronzino, Agnolo di Cosimo 1503-1572
Clouet, Francois c.1510-1572
El Greco, Domenikos Theotokopoulos 1541-1614
Moroni, Giovanni Battista c.1520-1578
Pontormo, Jacopo Carucci 1494-1557
Tintoretto, Jacopo Robusti c.1518-1594
Varallo, Tanzio da c.1575-1633
Vasari, Giorgio 1511-1574
Veronese, Paolo Cagliari c.1528-1588

 

 

Intruduction


Mannerism is the usual English term for an approach to all the arts, particularly painting but not exclusive to it, a reaction to the High Renaissance, emerging after the Sack of Rome in 1527 shook Renaissance confidence, humanism and rationality to their foundations, and even Religion had split apart.

Like "modernism", the term is one of the few style designations whose label was self-applied; it comes from the Italian maniera, or "style," in the sense of an artist's characteristic "touch" or recognizable "manner."



Giorgio Vasari, frontispiece to Lives of the Artists, 1568 "Mannerism" was initially a contentious stylistic label among art historians when it resurfaced before World War I, first used by German art historians like Heinrich Welfflin to categorize the seemingly uncategorizable art of the Italian 16th century, the style that introduced the Renaissance to France in the Fontainebleau schools and to Antwerp in quite another "manner", styles that were neither Renaissance nor Baroque. Mannerism is not easily pigeonholed; it scarcely affected the popular arts, and no definitions survived much examination, in the views of English art historians, partly perhaps because they already had sufficient local categories: "Elizabethan drama," "Jacobean architecture and furniture."

The framing of the engraved frontispiece to Mannerist artist Giorgio Vasari's Lives of the Artists would be called "Jacobean" in an English-speaking context. In it, Michelangelo's Medici tombs inspire the anti-architectural "architectural" features at the top, the papery pierced frame, the satyr nudes at the base. In the vignette of Florence at the base, papery or vellum-like material is cut and stretched and scolled into a cartouche (cartoccia). The design is self-conscious, overcharged with rich, artificially "natural" detail in physically improbable juxtapositions of jarring scale changes, overwhelming as a mere frame: Mannerist.

Vasari's own opinions about the "art" of creating art come through in his praise of fellow artists in the great book that lay behind this frontispiece: he believed that excellence in painting demanded refinement, richness of invention (invenzione), expressed through virtuoso technique (maniera), and wit and study that appeared in the finished work, all criteria that emphasized the artist's intellect and the patron's sensibility. The artist was now no longer just a craftsman member of a local Gild of St Luke. Now he took his place at court with scholars, poets, and humanists, in a climate that fostered an appreciation for elegance and complexity. The coat-of-arms of Vasari's Medici patrons appear at the top of his portrait, quite as if they were the artist's own.

Mannerism is usually set in opposition to High Renaissance conventions. It was not that artists despaired of achieving the immediacy and balance of Raphael; it was that such balance was no longer relevant or appropriate. Mannerism developed among the pupils of two masters of the integrated classical moment, with Raphael's assistant Giulio Romano and among the students of Andrea del Sarto, whose studio produced the quintessentially Mannerist painters Pontormo and Rosso Fiorentino, and with whom Vasari apprenticed.

After the realistic depiction of the human form and the mastery of perspective achieved in High Renaissance Classicism, some artists started to deliberately distort proportions in disjointed, irrational space for emotional and artistic effect. There are aspects of Mannerism in El Greco. In spite of the uniquely individual quality that sets him apart from simple style designations, you can detect Mannerism in El Greco's jarring "acid" color sense, his figures' elongated and tortured anatomy, the irrational perspective and light of his breathless and crowded composition, and obscure and troubling iconography.

In Italy mannerist centers were Rome, Florence and Mantua. Venetian painting, in its separate "school" pursued a separate course, epitomized in the long career of Titian.

Two works, one practical one metaphysical, by Gian Paolo Lomazzo, helped define the Mannerist artist's self-conscious relation to his art. His Trattato dell'arte della pittura, scoltura et architettura (Milan, 1584) is in part a guide to contemporary concepts of decorum, which the Renaissance inherited in part from Antiquity but Mannerism elaborated upon, which controlled a consonance between the functions of interiors and the kinds of painted and sculpted decors that would be suitable, in Lomazzo's systematic codification of esthetics, which typifies the more formalized and academic approaches typical of the later 16th century. Iconography, often convoluted and abstruse, is a more prominent element in the Mannersist styles

Lomazzo's less practical and more metaphysical Idea del tempio della pittura ("The ideal temple of painting", Milan, 1590) offers a description along the lines of the "four temperaments" theory of the human nature and personality, containing the explanations of the role of individuality in judgment and artistic invention.

Some mannerist examples

Jacopo da Pontormo's Joseph in Egypt stood in what would have been considered contradicting colors and disunified time and space in the Renaissance. Neither the clothing, nor the buildings-not even the colors-accurately represented the Bible story of Joseph. It was wrong, but it stood out as an accurate representation of society's feelings.

Rosso Fiorentino, who had been a fellow-pupil of Pontormo in the studio of Andrea del Sarto, brought the Florentine maniera to Fontainebleau in 1530, where he became one of the founders of the French 16th century Mannerism called the "School of Fontainebleau". The examples of a rich and hectic decorative style at Fontainebleau transfered the Italian style, through the medium of engravings, to Antwerp and thence throughout Northern Europe, from London to Poland, and brought Mannerist design into luxury goods like silver and carved furniture. A sense of tense controlled emotion expressed in elaborate symbolism and allegory, and elongated proportions of female beauty are characteristics of his style.

Agnolo Bronzino's somewhat icy portraits put an uncommunicative abyss between sitter and viewer, concentrating on rendering of the precise pattern and sheen of rich textiles.

Giorgione's Tempest was just that, with no clue left as to what it meant or why it was even there. Art began to gain its own value.

Jacopo Tintoretto's Last Supper epitomized Mannerism by taking Jesus and the table out of the middle of the room. He showed all that was happening and even gave Judas Iscariot a halo. In sickly, disorienting colors he painted a scene of confusion that somehow separated the angels from the real world. He had removed the world from God's reach.

El Greco attempted to express the religious tension with exaggerated Mannerism. This exaggeration would serve to cross over the Mannerist line and be applied to Classicism.

Benvenuto Cellini created a salt cellar of gold and ebony in 1540 featuring Neptune and Amphitrite (earth and water) in elongated form and uncomfortable positions. It is considered a masterpiece of Mannerist sculpture.

with help of wikipedia



От: VO,  






Скрыть комментарии (0)

UP


Вход/Регистрация - Присоединяйтесь!

Ваше имя:
Комментарий:
Avatar
Обновить
Введите код, который Вы видите на картинке выше (чувствителен к регистру). Для обновления изображения нажмите на него.


Похожие темы:



Идеи подарков - на все случаи жизни , фантастика в кино, Топ 100 исторических фильмов


Добро пожаловать на наш сайт! Сайт существует с 2006 года, множество энтузиастов приложило руку к его созданию и наполнению, чтобы предоставить вам увлекательные обзоры фильмов, интересные статьи о стилях интерьера и дизайне, а также захватывающие рассказы о картинах, художниках, музеях и необычных местах для путешествий.

Наши обзоры фильмов предоставляют глубокий и всесторонний анализ отдельных кинолент. Мы рассматриваем не только сюжет и актерскую игру, но и кинематографическую технику, музыкальное сопровождение и общую атмосферу фильма. Будь то новинки или классика, мы стараемся предоставить вам полное представление о фильме.

Наши статьи о стилях интерьера и дизайне помогут вам воплотить в жизнь ваши самые смелые идеи для дома. Мы делимся советами по подбору мебели, цветовой гаммы, освещения и аксессуаров, чтобы создать гармоничную и уютную обстановку. Вы узнаете о различных стилях интерьера, их особенностях и какие элементы помогут вам воплотить выбранный стиль.

Не только фильмы и дизайн, мы также рассказываем о картинах и художниках, которые вдохновляют мир искусства. Мы предлагаем интересные истории о знаменитых произведениях и талантливых художниках. Кроме того, мы погружаемся в мир музеев и подробно рассказываем о самых удивительных и необычных местах для путешествий, где можно насладиться прекрасными произведениями искусства.

Местные традиции - это еще одна тема, которую мы освещаем на нашем сайте. Мы погружаемся в культуру различных народов, рассказываем об их обычаях, праздниках и уникальных традициях. Вы познакомитесь с разнообразием мировой культуры и откроете для себя удивительные аспекты жизни разных народов.

Мы стараемся предоставить вам интересные, информативные и увлекательные материалы, которые помогут вам расширить свои знания и насладиться красотой мира вокруг нас. Добро пожаловать в наш увлекательный мир искусства, кино, дизайна и путешествий
« SurrealismHigh Renaissance ( art movements series) »