The sixteenth century in Europe was a time of unprecedented change. It was the beginning of the modern era, and it saw a revolution in almost every aspect of life. The century opened with the discovery of a new continent


Download 463 b.
bet7/20
Sana14.08.2018
Hajmi463 b.
1   2   3   4   5   6   7   8   9   10   ...   20

Michelangelo was a small man, perhaps not more than 5' 2" in height and weighing not much more than a muscular 100 pounds. In 1550 Blaise de Vigniere, visiting from France, wrote, "I saw Michelangelo at work. He had passed his 60th year and although he was not very strong, yet in a quarter of an hour he caused more splinters to fall from a very hard block of marble than three young masons in three or four times as long. No one can believe it who has not seen it with his own eyes. With one blow he brought down fragments three or four fingers in breadth, so exactly at the point that if a little more marble had fallen, it would have risked spoiling the whole piece."



Mannerism in art appears following the death of Raphael Sanzio in 1520, a new style that emerged in Florence and Rome. Focused on the human figure, Mannerism in art depicted forms in contorted poses with more emotional content, a somewhat disturbing unrest, an almost surreal feeling evident.

  • Mannerism in art appears following the death of Raphael Sanzio in 1520, a new style that emerged in Florence and Rome. Focused on the human figure, Mannerism in art depicted forms in contorted poses with more emotional content, a somewhat disturbing unrest, an almost surreal feeling evident.



Rejecting the stability and classical ease of the High Renaissance, mannerism in art reflected the general turmoil in Europe present at the time with the sack of Rome in 1527, the Reformation, and new outbreaks of plague. Mannerism in art, gaining popularity in much of Europe and northern Italy, featured the use of distorted figures in complex, impossible poses, and strange artificial colors. Bridging the gap between the High Renaissance Art and the Baroque Art style of the 17th century, the style of Mannerism in art came to an end around 1600.

  • Rejecting the stability and classical ease of the High Renaissance, mannerism in art reflected the general turmoil in Europe present at the time with the sack of Rome in 1527, the Reformation, and new outbreaks of plague. Mannerism in art, gaining popularity in much of Europe and northern Italy, featured the use of distorted figures in complex, impossible poses, and strange artificial colors. Bridging the gap between the High Renaissance Art and the Baroque Art style of the 17th century, the style of Mannerism in art came to an end around 1600.

  • Brenda Harness, Art Historian





Mannerism was an art style that focused on the human form, depicted in intricate poses and in exaggerated, not always realistic settings. The term Mannerism was derived from the Italian word maniera, translated as “style.” It developed in Florence and Rome between 1520 and 1600, as a style that rejected the balance of the Renaissance period in favor of a more emotional and distorted point of view. This art style reflected the tension in Europe at the time of its popularity. The movement eventually gained favor in northern Italy and most of central and northern Europe.

  • Mannerism was an art style that focused on the human form, depicted in intricate poses and in exaggerated, not always realistic settings. The term Mannerism was derived from the Italian word maniera, translated as “style.” It developed in Florence and Rome between 1520 and 1600, as a style that rejected the balance of the Renaissance period in favor of a more emotional and distorted point of view. This art style reflected the tension in Europe at the time of its popularity. The movement eventually gained favor in northern Italy and most of central and northern Europe.



Paintings contained artificial color and unrealistic spatial proportions. Figures were often elongated and exaggerated, positioned in imaginative and complex poses. Works of the movement are often unsettling and strange, probably a result of the time period’s upheaval from the Reformation, the plague, and the sack of Rome. In 1600, Mannerists were accused of disrupting the unity of Renaissance classicism. However, in retrospect, the Mannerist movement supplied the link between Renaissance perfection and the emotional Baroque art that later developed in the 17th century.

  • Paintings contained artificial color and unrealistic spatial proportions. Figures were often elongated and exaggerated, positioned in imaginative and complex poses. Works of the movement are often unsettling and strange, probably a result of the time period’s upheaval from the Reformation, the plague, and the sack of Rome. In 1600, Mannerists were accused of disrupting the unity of Renaissance classicism. However, in retrospect, the Mannerist movement supplied the link between Renaissance perfection and the emotional Baroque art that later developed in the 17th century.



Born Agnolo di Cosimo di Mariano, Il Bronzino studied under Raffaellino del Garbo and Jacopo da Pontormo. He lived and worked in Florence most of his life and was the court painter for the Duke of Tuscany, Cosmo I. He excelled in portraiture and religious works, and was also a well-known poet and member of the Florentine Academy. His work incorporated an interest in light and bright colors.

  • Born Agnolo di Cosimo di Mariano, Il Bronzino studied under Raffaellino del Garbo and Jacopo da Pontormo. He lived and worked in Florence most of his life and was the court painter for the Duke of Tuscany, Cosmo I. He excelled in portraiture and religious works, and was also a well-known poet and member of the Florentine Academy. His work incorporated an interest in light and bright colors.









Do'stlaringiz bilan baham:
1   2   3   4   5   6   7   8   9   10   ...   20


Ma'lumotlar bazasi mualliflik huquqi bilan himoyalangan ©fayllar.org 2017
ma'muriyatiga murojaat qiling