1520-1600 Mannerism

The Art & Architecture of 16th century.

Early renaissance.

High renaissance.

Late renaissance called MANNERISM

RENAISSANCE PHASES

The term Mannerism was developed through the Italian word maniera which means style.

It was an art style that depicted the human form in inflated poses, in unrealistic settings.

The art period is essentially the late Renaissance as it followed the High Renaissance art period.

The Mannerist art movement first appeared in Florence and Rome, later in northern Italy and central and northern Europe.

Mannerism Art History

Artificial colors.

Unrealistic proportions.

Off beat perspective.

Complex composition.

inflated or elongated figures.

Characteristic paintings of Mannerism

There are two things that tend to show up in Mannerist works:-

The first is an elongation of the neck and torso (and sometimes strangely fluid arms and legs) in portraits or figurative paintings.

The second element sometimes seen in Mannerism is symbolism.

The most famous Mannerist artists are Raphael and Michelangelo Parmagianino, Madonna with the Long Neck, 1534-40

El Greco, Burial of Count Orgaz, 1586-88.QUITE A CROWDARTIFICIAL BACKGROUND

Tintoretto, The Maundy (Christ Washing The Feet of His Disciples), 1547Jacobo Titntoretto, Venetian, 1518-94Very emotional, unreal light, sudden lights and darks

The key characteristics of MannerismNew development at this time was simple archaeology.

The Mannerist artists now had actual works, from antiquity, to study. No longer did they need to use their respective imagination when it came to Classical stylization.

The Mannerist artists almost seemed determined to use their powers for evil.

Where High Renaissance art was natural, graceful, balanced and harmonious, the art of Mannerism was quite different.

MANNERIST COMPOSITIONS WERE FULL OF CLASHING COLORS, disturbing FIGURES WITH ABNORMALLY ELONGATED LIMBS, (OFTEN TORTUROUS-LOOKING) EMOTION AND BIZARRE THEMES THAT COMBINED CLASSICISM, CHRISTIANITY AND MYTHOLOGY.

ARTIFICIAL COLORELONGATION OF HAND

Mannerism architectureIn architecture the style was manifested in the use of unbalanced proportions and arbitrary arrangements of decorative features.

MANNERIST ARCHITECTURE

Went against the grain of Renaissance Architecture by using Classical forms in illogical ways.

This is mostly due to the style being used only for secular purposes.

Symmetrical but highly ornamental

Colossal order

Blind Windows

Stylishness in design could be applied to a building as well as to a painting. Showed extensive knowledge of Roman architectural style. Complex, out of step style taking liberties with classical architecture. Architecture, sculpture, and walled gardens were seen as a complex.Characteristics of Mannerist Architecture

Entrance to the Villa Farnese at Caprarola By Giacomo Vignola 1560

Giacomo da Vignola Wrote The Rule of the Five Orders of Architecture 1563 Became a key reference work for architects.

ARCHITECTURAL FEATURESBLIND WINDOWSCOLOSSAL ORDERHIGHLY ORNAMENTAL

Mannerist architecture is hard to define.

Palladio was 2nd only to Michelangelo during this time period.

Thought that architecture should be governed by reason and by certain universal rules perfected during ancient times.

Palladio, Villa Rotunda, 1567-70

VILLA ROTUNDA IS A RESIDENCE, SHAPED LIKE A TEMPLE (HE WAS CONVINCED THAT ROMAN BUILDINGS WERE ALSO SHAPED LIKE THIS).PALLADIAN ARCHITECTURAL STYLE [POPULAR IN ENGLAND].

SYMMETRY CENTER SPACE UNDER THE DOME BEING THE GRANDEST, PILLARSEach side of the building is mirrored to the apposing side.

DOME in center showing geometryProportions are not always made to the human body in architecture, they are made in proportion to power.

The taller or largest building make them appear more significant.

Each side of the building is mirrored to the apposing side.

Redentore (1576-1577) Designed by Andrea Palladio.

The designed from the Pantheon in Rome, which was also the inspiration for the Dome.

Flanking bell tower taken from Romanesque Architecture.

The building had to accommodate a lay people attending worship, monks and the processional service.

IL REDENTORE, Italy, 1577- 1592

NAVECHOIRFOUR COLUMN DISTINGUISHED THE SANCTUARYPORTICOSANCTUARYTRANCEPT

A broad steps leads into huge, triumphal arch-style entrance portico recessed into the faade.

ENTRANCE OF IL REDENTORECOMPOSITE ORDER

BRICK WAS USEDSTUCCO WAS USED ON FRONT FAADE AND ON DOME.BELL TOWER TAKEN FROM ROMANESQUE ARCHITECTURE

USED SEMI-CIRCULAR ARCH.

HIGHLY ORNAMENTED.INTERIOR OF IL REDENTORETHE INTERIOR OF IL REDENTORE IS APERISTYLE HALL.

PALLAZO DEL TE, MANTUA, ITALY, 1525- 1534Designed by Giulio Romano.

Giulio Romano was invited by Conzaga family in Mantua, where Giulio remained for the rest of his life, for the construction of a palazzo as Federico Gonzaga's lover's house. The antecedence of the palazzo del Te was a stable in Isla del Te in Mantua and later it was rebuilt as a villa.

Giulio left Rome to go to Mantua in 1524 and soon he started to design for remodeling the villa to a palazzo.

The east facade of east wing, seen from the east garden.

Palazzo del Te has a square court and large garden on the east side. The facade of east wing is different from others by adding a row of Paladian motifs columns to a wall. The central part of the facade has three arched openings, a Loggia of David, and the wings whose Paladian motifs are gradually metamorphosing.

THE NORTH FACADE.

The four facades outside have flat pilaster and rusticated wall and it looks like two storied building. The facade is not symmetry and the spans of the columns are irregular.

THE EAST FACADE OF EAST WING, CENTER PART (LOGGIA OF DAVID).

A CANAL AND A BRIDGE SUGGEST THE EXISTENCE OF A BASEMENT.

East wing, Loggia of David.

Two doors at the end of the loggia leads to "the Room of Stucco" but the left side door is dummy.

Loggia of David, seen from the loggia of the entrance.

The center axis.

Loggia of the entrance.

Two pairs of columns are rough surface on the contrary the vault is fine finish.

And beams have keystone shaped decolations which is used in masonry structure.

COURYARD; THE EAST WING FACADE.

An opening is the loggia of David.

The court is exactly square.

Each of the east and the west facade has a entrance and dummy openings. On the north and the south facade have real openings.

THE COURT WAS PLANED TO BE FILLED WITH A LABYRINTH. BUT, ONLY THREE LOGGIA CAN ACCESS TO THE COURT AND THERE ARE NO WAY TO GO TO ONE OF THE LOGGIA WITHOUT THROUGH SOME ROOMS.

THE COURTYARD, DETAIL OF THE EAST WING FACADE.

All of the rusticated walls are practically not stonework but stucco.

The composition of the facade is the superimposition of the ground floor and the upper floor of the common palace type in Late Renaissance Period.

HANGING TRIGLYPHSSLIPPING KEYSTONESDetails from Palazzo de Te

Doric triglyphs appear to have sliped down into the zone below the entablature. THE KEYSTONE ON THE NICHE IS RAISED UP, THEREFORE THE JOINT OF THE RAKING CORNICE IS OPENED.

North wing, "the Room of Horse"

The main entrance of the Palazzo del Te called "Loggia of the Muse" leads the "Room of the House" which is a reception room and the bigining of the story of the Palazzo del Te. Horses is painted on the four side of the biggest room in the palazzo.

The "Room of Psyche"

Next to "the Room of Horse" is a banquet room, the "Room of Psyche", where the paintings of feast and erotic scene are on the wall and ceiling.

THE FLOOR PATTERN DESIGNINGS MIRROR THAT OF THE CEILING.

EAST WING, "THE ROOM OF GIANTS"

The Room of Giants is the last room from the Loggia of David through the Room of Stucco and the Room of Emperor. The paintings are covered all over the wall and the ceiling.

bibliographyRENAISSANCE ARCHITECTURE, ALEXANDER MARKSCHIES.

THE WORLD ARCHITECTURE, by francis d k ching.

THE RENAISSANCE. web.kyoto-inet.or.jp/org/orion/eng/hst/manneris/te.html en.wikipedia.org/wiki/Mannerism www.artcyclopedia.com/history/mannerism.html

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