Italian Renaissance Art Mannerism Research Paper

Pages: 8 (2576 words)  ·  Style: MLA  ·  Bibliography Sources: 4  ·  File: .docx  ·  Level: Master's  ·  Topic: Art  (general)

Artists were apparently using the light to reach from a practical point outside of the painting. Now light was inflicted randomly, sometimes originating from a source inside the composition, like a halo; sometimes impending from different ways, lighting elements make a sort of an odd angle and casting shadows that appear unreasonable. Light indicated religion and could be expended to convert a predictable location into a heavenly realm.

Spiritual intensity was a common characteristic during this period especially in the area of painting. Some rejected to the fact that Mannerism has shown a high degree of religious passion because in their eyes, it was not representing orthodox faith. Regardless, experts still came up with a new way of differentiating among the divine and the mortal. This new talent was most easily understood in scenes of ghosts, saintly visions and miracles of the New Testament, in which events happening in this world were transferred into the divine sphere.

A new painterly concept was necessary for characterizing the spiritual. The importance of line gave way to the expressive imminence of color. Shapes became not as noticeable and clearly defined, sometimes becoming key points of dynamic, irrational descriptions. Brushstrokes could be vague or broken.

Both the expressive quality of light and the emphasis on movement were working tools that Mannerist artists used in order to make true portrayals of transcendental subjects. For example the following picture depicts this form:Download full Download Microsoft Word File
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Research Paper on Italian Renaissance Art Mannerism Is Assignment

(Figure 3). Madonna and Child, Date: 1617, Movement: Renaissance (Late, Mannerism), Theme: New Testament, Technique: Oil on canvas As it is obvious that the painter was able to get away from obvious possibilities for painting exposed breast. By the time he was active, quite a number of Madonna and child spiritual paintings were showing her as one who lets little Jesus sucking her breast. However, this was a common theme in Italy. Here, I adore here how masterly way Haarlem portrays particulars like hands and fingers in supplement to loose folding of clothes, colors that are balanced and other things secondary significance on this scene. Amount of child is closing to the real, but still he appears a bit a small adult.

On the plus side, a lot of artists were getting a lot of technical information during the Renaissance (like using the different oil paints and interpretation) which would not be lost to a "dark" time anymore.

During this time, another fresh expansion at this period was essential archaeology. The Mannerist artists now had real works, from ancient times, to report. After a while, they did not have to want to use their own imagination when it came down to the Classical stylization. Where High Renaissance art was graceful open, balanced and harmonious, the art of Mannerism was quite diverse.

While strictly masterful, Mannerist arrangements were full of conflicting colors, disturbing figures with unusually lengthened limbs, (frequently torturous-looking) strange and emotion themes that joint Classicism, mythology and Christianity.

The nude, who had been remembered throughout the Early Renaissance, was still prevalent throughout the Mannerism age- the postures in which it found itself! The following picture is an example.

(Figure 4). Agnolo Bronzino - An Allegory with Venus and Cupid 1543

Leaving compositional unpredictability out of the picture (pun envisioned), no human could have preserved views such as those portrayed -- otherwise or clothed. Landscapes went through a similar fate.

If the sky in any given sequence was not a color that was threatening, it was filled with animals flying everywhere, malevolent putti, Grecian pillars or some other undesired overdone backdrop. For example, in the following picture below:

(Figure 5). "Landscape with The Fall of Icarus," ca. 1590-95, oil on wood (63 by 90 centimeters (25 x 35 in)),

Circle of P.Bruegel the Elder, Museum van Buuren, Brussels, Belgium.

I think that Mannerism is an extension of earlier conventions because depending on the historical version, Mannerism came into fruition around 1510 or 1520 in either Rome or Florence or both places. The early Mannerists in Florence -- especially the students of Rosso Fiorentino, Andrea Del Sarto and Jacopo da Pontormo and were noted for what was called the pre=Mannerism period. This prequel period was particularly notable for lengthened forms, insecurely balanced postures, a collapsed viewpoint, illogical settings, and lighting that were dramatic. Parmigianino (a scholar of Correggio) and Giulio Romano (head assistant of Rapheal) in the prequel period were using similarly traditional artistic directions in Rome that would then be extended into the Mannerism era.

These artists would eventually matured under the power of the High Renaissance, and their design would eventually become characterized as a response or overstated incorporation of it. Instead of looking at nature for what it is, the prequel younger artists began before the Mannerism period started studying Hellenistic sculptures and paintings of masters past. Hence, this style is often observed as "anti-classical." However at the time it was thought of as a natural development from the High Renaissance.

In conclusion, it is clear that Mannerism is a reflection of an era that brought about a way that was unique and distinct. I don't think that it can be argued that the different characteristics of Mannerism have proven from the paintings that they have a personal narrative structure of style that turns away from the harmonization and coordination of High Renaissance Art. Of course it is clear that Mannerism cannot be associated with Counter-Reformation art because it is like comparing apple to oranges. Mannerism brought in its own elegant comfort that is unmatched by any artistic time throughout history. I think that Mannerism, as it was performed in the latter 16th century, did not actually reach the broad foundation. However, Mannerism did serve its purpose with making an impact on the world.

Works Cited

Friedlander, Walter. "Mannerism and Anti-Mannerism in Italian Painting." Stockton: Columbia University Press, 1965. 17-60.

Gardner, Helen Louise. "The Metaphysical Poets, Selected and Edited." New York: Penguin Books, 1972. 10-65

Smyth, Craig Hugh. "Mannerism and Maniera, with an introduction by Elizabeth Cropper." Vienna: IRSA, 1992. 56-78.

Sypher, Wylie. "Four Stages of Renaissance Style: Transformations in Art and Literature, 1400-1700." Doubleday., 1955. 21-58.

Friedlander, Walter. "Mannerism and Anti-Mannerism in Italian Painting." Stockton: Columbia University Press, 1965. 17-18.

Gardner, Helen Louise. "The Metaphysical Poets, Selected and Edited." New York: Penguin Books, 1972. 10.

Friedlander p.19-22.

Sypher, Wylie. "Four Stages of Renaissance Style: Transformations in Art and Literature, 1400-1700." Doubleday., 1955. 21-34.

Friedlander, p. 30-38.

Smyth, Craig Hugh.… [END OF PREVIEW] . . . READ MORE

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