Chapter 16Chapter 16

Mannerism: Artistic Reaction to the Greats

� Maniera: “THE” style, which builds on the achievements of Michelangelo and Raphael

� Technical virtuosity, twining figures, uncertain perspective.figures, uncertain perspective.

� Subject matter purposely unclear

� Sophisticated, unusual compositions

� Beautiful, elongated figures replace classical bodies

� Artists striving for originality and personal expression.

Jacopo Pontormo, Deposition from the Cross, 1525-1528. Compare to the Renaissance version of the same subject by Fra. Angelico.

Rosso Fiorentino, The Descent from the Cross, 1521. Figure 16.2

Tomb of Giuliano de' Medici, 1526-33Marble, 630 x 420 cmNew Sacristry, San Lorenzo, Florence

Details of Day and Night, 1526-33Marble, New Sacristry, San Lorenzo, Florence

� Allegory is to represent an idea with physical form; a type of iconography.

Bronzino. Allegory of Venus, ca. 1546. Oil on canvas. Gift from the Medici to the King of France.

type of iconography.

� Father time (bald man)

� Fraud (theater mask)

� Venus and Cupid

� Folly (with roses)

� Pain (tears at head)

� Pleasure (half-woman, half-snake)

Bronzino, Eleanor of Toledo, oil on wood, 1544-45

Parmigianino, The Madonna with the Long Neck, ca. 1535. Unfinished at the time of Parmigianino’s death.

Renaissance Art and Architecture Questioned

The Church Reacts to the Protestant Reformation

� Martin Luther and other protestants in the North questioned the doctrine and authority of the church.

� They insisted the intervention of the saints and the church clergy was

� They insisted the intervention of the saints and the church clergy was unnecessary for salvation. Religious authority was transferred from the Pope to the individual.

� The church used the visual arts as a means to bring the faithful back to the Church. Changes in the arts of Rome leads to the Baroque era.

Portrait of Martin Luther in 1533.

MICHELANGELO BUONARROTI, Last Judgment, altar wall of the Sistine Chapel, Vatican City, Rome, Italy, 1536–1541. Fresco, 48’ x 44’.

� Michelangleo, St. Peter’s Dome.

Engraving and Wood Model of St. Peter’s Basilica, Rome, 1546-1564

Wood Model of St. Peter’s Dome, Rome, 1546-1564

Elevation Drawing and Ground Plan with Michelangelo’s Changes to Bramante’s Vision of St. Peter’s Basilica, Rome, 1546-1564

St. Peter’s Basilica with 17th century Piazza by Bernini and Nave and Façade by Madermo.

Dome of St Peter's, completed 1564Basilica di San Pietro, Vatican

Views of the Dome