Mannerism

LORENZO
Michelangelo c. 1524
Tomb of Lorenzo, Duke of Urbino
New Sacristy Church of San Lorenzo
lorenzo - vita contemplativa
guilano - vita activa
GIULIANO
Michelangelo c. 1524
Tomb of Giuliano, Duke of Nemours
New Sacristy Church of San Lorenzo
Mannerism and Normative Style
maniera, stile
Figura serpentinata
maniera
stile
Figura serpentinata (distorted poses, effect of strong contrapposto)
Perseus, bronze sculpture by Benvenuto Cellini, 1545–54; in the …
Alinari/Art Resource, New York
Mercury, bronze figure by Giambologna, c. 1580; in the Bargello …
Alinari/Art Resource, New York
Mannerism
Parmigianino, Madonna with the Long Neck, ca. 1535
once attributed to Bartolomeo Passerotti, Michelangelo Conducting an Anatomy lesson, ca. 1570
now F Zuccaro
ecorche, Vesalius
Natura Naturata
Natura Naturans
For an Italian Renaissance artist of the Quattrocento "nature" had two aspects to be
imitated that had originated in Greek thought: the passive reality of our daily
experience (natura naturata or created nature) and the active power that directs and
governs life as well as the growth of a work of art (natura naturans or creating nature).
Mannerist Architecture
Style of the 16th century ?
Michelangelo, Laurentian Library, begun 1524 (stairway, 1558-59)
Alienation of the individual from society (questioning of traditional values)
Reaction against Renaissance formalism
Departures from Renaissance classical form
Points toward Mannerist rejection of High Renaissance classicism
Dramatic movement
Massive, plastic forms (complex contours)
Defies gravity
Breaks rules
The stone is more stone than before. In general we no
longer understand architecture, at least by far not in the
way we understand music. We have outgrown the
symbolism of lines and figures, as we have grown
unaccustomed to the tonal effects of rhetoric, no longer
having sucked in this kind of cultural mother's milk from
the first moment of life. Originally, everything about a
Greek or Christian building meant something, and in
reference to a higher order of things. This atmosphere of
inexhaustible meaningfulness hung about the building
like a magic veil. Beauty entered the system only
secondarily, without impairing the basic feeling of
uncanny sublimity, of sanctification by magic or the gods'
nearness. At most the beauty tempered the dread - but
this dread was the prerequisite everywhere. What does
the beauty of a building mean to us now?
Homomensura
Physis
&
Nomos
Nomos
transcendent order
Legal constitution in conformity with transcendent order
Historical order without regard for conformity with transcendent order
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Mannerism
psychomachia
conflict of the soul
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Palazzo del Te; Mantova, Italy; 1526-35; by Giulio Romano
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Palazzo del Te; Mantova, Italy; 1526-35; by Giulio Romano
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East garden, the northeast view seen from the palazzo.
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