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Renaissance & Mannerism
From the 15th to the 16th centuries, Western European culture flourished thanks in part to the astonishing achievements of such Renaissance artists as da Vinci, Donatello, Raphael, Botticelli, and Michelangelo, and Mannerist painters including El Greco, Pontormo, and Tintoretto. In Florence, the cradle of the Renaissance, artists pursued ancient classical ideals of harmony and naturalism, and in architecture, forms of perfection and grandeur. Mannerists, in the early 16th century, valued exaggeration, elongated figures, unnatural lighting, and vivid (even lurid) colors, to create more tension and emotion in their work. This stunning volume follows these two key movements in art history, providing authoritative background from a top scholar, rich cultural context, and a wealth of exquisite reproductions of period paintings, sculptures, churches, and palazzos.
Mannerism
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The English Mannerist Poets and the Visual Arts
In this study, L.E. Semler begins with a comprehensive, historical definition of Mannerism in visual arts from which he derives four key terms that constitute the nucleus of the aesthetic: technical precision, elegance, grazia, and the difficulta:facilita formula. These principles - interwoven with one another and with maniera - are derived from visual arts but are specifically designed to be transferable to any medium. The rest of the book situates the English poets in relation to the visual arts - including painting, limning, gold- and silversmithery, architecture, and garden design - and discusses their verse in relation to the key Mannerist principles.
The Late Renaissance and Mannerism
Mannerism - Michelangelo in Rome - Venice - Spain.
The High Renaissance and Mannerism
Linda Murray examines the manifold achievements of Italian artists, but also identifies the strongly individual forms taken by the Renaissance and Mannerism in Northern Europe and in Spain - in the work of painters as varied as Durer, Bruegel and El Greco.
The High Renaissance and Mannerism
After the death of Raphael in 1520, the next generation in Italy was to see the rise of the complex and refined sensibility summed up in the term "Mannerism." In this uniquely comprehensive guide to sixteenth-century Renaissance art, Linda Murray examines the manifold achievements of Italian artists and identifies the individual forms taken by artists in Northern Europe and in Spain, including Durer, Bruegel and El Greco.
Mannerism, Spirituality and Cognition
This book employs a new approach to the art of sixteenth-century Europe by incorporating rhetoric and theory to enable a reinterpretation of elements of Mannerism as being grounded in sixteenth-century spirituality. Lynette M. F. Bosch examines the conceptual vocabulary found in sixteenth-century treatises on art from Giorgio Vasari to Federico Zuccari, which analyses how language and spirituality complement the visual styles of Mannerism. By exploring the way in which writers from Leone Ebreo to Gabriele Paleotti describe the interaction between art and spirituality, Bosch establishes a religious base for the language of art in sixteenth-century Europe. The book will be of interest to scholars working in art history, Renaissance studies, religious studies, and religious history.
Mannerism
Manierismo was the extreme consciousness of elegant style for its own sake, a passion which unites the cold narcissistic nudes of Bronzino, the elaborate chiselling of Benvenuto Cellini's saltcellar, and the water-games in a duke's garden.
Mannerism and Anti-mannerism in Italian Painting
Here are presented two essays by one of the pioneers in the modern exploration of 16th century Italian art. The first, on the Kunstwissenschaft, v.XLVII; the second, on the style translated and published in a 1957 edition, of which this is a reprint (with inclusion of a 1964 foreword).
Mannerism (Vol. I and II)
First published in 1965, Mannerism is the rediscovery and revaluation of Mannerism, that long misjudged artistic style which came into its own during the crisis of the Renaissance. Expressionism, Surrealism and Abstract Art prepared the ground for a new understanding of Mannerism, and Dr. Hauser shows how this revaluation signifies an even deeper caesura in intellectual history than the crisis of the Renaissance itself in which Mannerism arose. These propositions however, only touch on the problem which is exhaustively treated by Hauser in all its historical and thematical variations. The author does not confine himself to the observation of development from the point of view of the history ...
