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Arcimboldo (ca.
1530 - 1593)
"Mannerism is a stylistic label that
encompasses certain tendencies in later Renaissance art.
The term derives from the Italian word maniera (manner)
and initially referred to art produced "in the manner of"
another artist (often
Michelangelo). Over the years, scholars have
refined their ideas about Mannerism, attempting to define this
style's parameters. Chronologically, it is difficult to
identify with specific dates for Mannerism - it overlapped
considerably with High Renaissance art, emerging in the 1520's."
- Gardner's
Art Through The Ages,
11th edition, Vol. II, p. 673
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"Among the features most closely associated with Mannerism
is artifice - an emphasis on staged, contrived imagery.
Mannerist art evinces elegance and beauty, but not those
derived directly from nature. Rather than relying on
direct observation for their sources, Mannerists tended to
look to earlier art, especially High Renaissance and Roman
sculpture, as their models. Further, Mannerists
displayed a preference for imbalanced compositions and
unusual complexities, both visual and conceptual.
Ambiguous space, departures from expected conventions, and
unique presentations of traditional themes also surfaced
frequently in Mannerist art and architecture. Where
High Renaissance artists strived for balance, mannerists
sought instability. Mannerists replaced the calm
equilibrium of the High Renaissance with a restlessness that
led to distortions, exaggerations, and affected posturings
on the one hand, and sinuous grace on the other hand.
These artists, to the limits of their ingenuity and skill,
abstracted forms they idealized further, so the typical
Mannerist picture or statue looks like an original essay in
human form somewhat removed from nature. Mannerism is
almost exclusively an art of the human figure.
Mannerism's requirement of "invention" led its practitioners
to a self-conscious stylization involving complexity,
caprice, fantasy (the "conceit"), elegance, prefectionism,
and polish." -
Gardner's Art Through
The Ages, 11th
edition, Vol. II, pp. 673 - 674
La Primavera (Spring)
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