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Counter-Maniera
Counter-''Maniera'' or Counter-Mannerism (variously capitalized and part-italicized) is a term in art history for a trend identified by some art historians in 16th-century Italian painting that forms a sub-category or phase of Mannerism, the dominant movement in Italian art between about 1530 and 1590. Counter-''Maniera'' or Counter-Mannerism reacted against the artificiality of the second generation of Mannerist painters in the second half of the 16th century. It was in part due to artists wishing to follow the vague prescriptions for clarity and simplicity in art issued by the Council of Trent in its final session in 1563, and represented a rejection of the distortions and artificiality of high Mannerist style, and a partial return to the classicism and balance of High Renaissance art, with "clarity in formal order and legibility in content". The term was devised by the art historian Sydney Joseph Freedberg (1914–1997), and has gained a good degree of acceptance, although i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Reformation And Art
The Protestant Reformation during the 16th century in Europe almost entirely rejected the existing tradition of Catholic art, and very often destroyed as much of it as it could reach. A new artistic tradition developed, producing far smaller quantities of art that followed Protestant agendas and diverged drastically from the southern European tradition and the humanist art produced during the High Renaissance. The Lutheran churches, as they developed, accepted a limited role for larger works of art in churches, and also encouraged prints and book illustrations. Calvinists remained steadfastly opposed to art in churches, and suspicious of small printed images of religious subjects, though generally fully accepting secular images in their homes. In turn, the Catholic Counter-Reformation both reacted against and responded to Protestant criticisms of art in Roman Catholicism to produce a more stringent style of Catholic art. Protestant religious art both embraced Protestant values ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mannerism
Mannerism, which may also be known as Late Renaissance, is a style in European art that emerged in the later years of the Italian High Renaissance around 1520, spreading by about 1530 and lasting until about the end of the 16th century in Italy, when the Baroque style largely replaced it. Northern Mannerism continued into the early 17th century. Mannerism encompasses a variety of approaches influenced by, and reacting to, the harmonious ideals associated with artists such as Leonardo da Vinci, Raphael, Vasari, and early Michelangelo. Where High Renaissance art emphasizes proportion, balance, and ideal beauty, Mannerism exaggerates such qualities, often resulting in compositions that are asymmetrical or unnaturally elegant.Gombrich 1995, . Notable for its artificial (as opposed to naturalistic) qualities, this artistic style privileges compositional tension and instability rather than the balance and clarity of earlier Renaissance painting. Mannerism in literature and music is not ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Santi Di Tito
Santi di Tito (5 December 1536 – 25 July 1603) was one of the most influential and leading Italian painters of the proto-Baroque style – what is sometimes referred to as "Counter-Maniera" or Counter-Mannerism. Biography He was born in Florence, then its own city-state. There is little documentation to support the alleged training under Bronzino or Baccio Bandinelli. From 1558 to 1564, he worked in Rome on frescoes in Palazzo Salviati and the Sala Grande of the Belvedere (''Homage of the People'') alongside Giovanni de' Vecchi and Niccolò Circignani. He acquired a classical trait, described as ''Raphaelesque'' by S. J. Freedberg. This style contrasted with the reigning ornate Roman painterliness of Federico and Taddeo Zuccari or their Florentine equivalents: Vasari, Alessandro Allori, and Bronzino. After returning to Florence in 1564, he joined the Accademia del Disegno. He contributed two conventionally Mannerist paintings for the Duke's study and laboratory, the Stud ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Style (visual Arts)
In the visual arts, style is a "...distinctive manner which permits the grouping of works into related categories" or "...any distinctive, and therefore recognizable, way in which an act is performed or an artifact made or ought to be performed and made". It refers to the visual appearance of a work of art that relates it to other works by the same artist or one from the same period, training, location, "school", art movement or archaeological culture: "The notion of style has long been the art historian's principal mode of classifying works of art. By style he selects and shapes the history of art". Style is often divided into the general style of a period, country or cultural group, group of artists or art movement, and the individual style of the artist within that group style. Divisions within both types of styles are often made, such as between "early", "middle" or "late". In some artists, such as Picasso for example, these divisions may be marked and easy to see; in others ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Federigo Barocci
Federico Barocci (also written ''Barozzi'')(c. 1535 in Urbino – 1612 in Urbino) was an Italian Renaissance painter and printmaker. His original name was Federico Fiori, and he was nicknamed Il Baroccio. His work was highly esteemed and influential, and foreshadows the Baroque of Rubens. He is generally considered the greatest and the most individual painter of his time in central Italy. Early life and training He was born at Urbino, Duchy of Urbino, and received his earliest apprenticeship with his father, Ambrogio Barocci, a sculptor of some local eminence. He was then apprenticed with the painter Battista Franco in Urbino. He accompanied his uncle, Bartolomeo Genga to Pesaro, then in 1548 to Rome, where he was worked in the pre-eminent studio of the day, that of the Mannerist painters, Taddeo and Federico Zuccari. Mature work in Rome and Urbino After passing four years at Rome, he returned to his native city, where his first work of art was a ''St. Margaret'' execut ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Scipione Pulzone
Scipione Pulzone (1544 – February 1, 1598), also known as Il Gaetano, was a Neapolitan painter of the late Italian Renaissance. His work differs in several respects from the Mannerist style predominant at the time. He was active mainly in Rome, but also worked in Naples and Florence. It is thought that he studied under Jacopino del Conte in Rome. Best known for his portraits, Pulzone painted Pope Gregory XIII, Cardinal de' Medici and Francesco I de' Medici, Grand Duke of Tuscany, Eleanor de' Medici, and Marie de' Medici. He also painted an ''Assumption with the Apostles'' for San Silvestro al Quirinale; a ''Pietà'' for the Gesù; and a ''Crucifixion'' for Santa Maria in Vallicella. Pulzone's ''Mater Divinae Providentiae'', painted around 1580, inspired the Roman Catholic cult of devotion to Our Lady of Providence. Biography Born in Gaeta around 1550 and initially trained in the workshop of Jacopino del Conte, Pulzone was one of the most original pictorial interpreters ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Northern Mannerism
Northern Mannerism is the form of Mannerism found in the visual arts north of the Alps in the 16th and early 17th centuries. Styles largely derived from Italian Mannerism were found in the Netherlands and elsewhere from around the mid-century, especially Mannerist ornament in architecture; this article concentrates on those times and places where Northern Mannerism generated its most original and distinctive work. The three main centres of the style were in France, especially in the period 1530–1550, in Prague from 1576, and in the Netherlands from the 1580s—the first two phases very much led by royal patronage. In the last 15 years of the century, the style, by then becoming outdated in Italy, was widespread across northern Europe, spread in large part through prints. In painting, it tended to recede rapidly in the new century, under the new influence of Caravaggio and the early Baroque, but in architecture and the decorative arts, its influence was more sustained. Backgro ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
John Shearman
John Kinder Gowran Shearman (pronounced "Sherman"; 24 June 1931 – 11 August 2003) was an English art historian who also taught in America. He was a specialist in Italian Renaissance painting, described by his colleague James S. Ackerman as "the leading scholar of Italian Renaissance painting", who published several influential works, but whose expected major book on Quattrocento painting, for the Penguin/Yale History of Art series (commissioned in 1984, and still a gap in the series in 2019), never appeared.Independent However, what is widely acknowledged as his most influential book, on the concept of Mannerism, published in 1967, is still in print. Early life and education Born in 1931 to Charles E. G. Shearman, a British army brigadier, and Evelyn Shearman (née White) in Aldershot, Hampshire,https://www.thebritishacademy.ac.uk/documents/1515/24_Shearman_1820.pdf John Shearman was educated in Surrey at St Edmund's School, Hindhead, and Felsted School in Essex. After complet ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Andrea Del Sarto
Andrea del Sarto (, , ; 16 July 1486 – 29 September 1530) was an Italian painter from Florence, whose career flourished during the High Renaissance and early Mannerism. He was known as an outstanding fresco decorator, painter of altar-pieces, portraitist, draughtsman, and colorist. Although highly regarded during his lifetime as an artist ("without errors"), his renown was eclipsed after his death by that of his contemporaries Leonardo da Vinci, Michelangelo, and Raphael. Early life and training Andrea del Sarto was born Andrea d'Agnolo di Francesco di Luca in Florence on 16 July 1486. Since his father, Agnolo, was a tailor (Italian: '' sarto''), he became known as "del Sarto" (meaning "tailor's son"). Since 1677 some have attributed the surname Vannucchi with little documentation. By 1494 Andrea was apprenticed to a goldsmith, and then to a woodcarver and painter named Gian Barile, with whom he remained until 1498. According to his late biographer Vasari, he then apprent ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Raphael
Raffaello Sanzio da Urbino, better known as Raphael (; or ; March 28 or April 6, 1483April 6, 1520), was an Italian painter and architect of the High Renaissance. List of works by Raphael, His work is admired for its clarity of form, ease of composition, and visual achievement of the Renaissance Neoplatonism, Neoplatonic ideal of human grandeur. Together with Leonardo da Vinci and Michelangelo, he forms the traditional trinity of great masters of that period. His father was court painter to the ruler of the small but highly cultured city of Urbino. He died when Raphael was eleven, and Raphael seems to have played a role in managing the family workshop from this point. He trained in the workshop of Perugino, and was described as a fully trained "master" by 1500. He worked in or for several cities in north Italy until in 1508 he moved to Rome at the invitation of the pope, to work on the Vatican Palace. He was given a series of important commissions there and elsewhere in the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Walter Friedländer
Walter Ferdinand Friedlaender (March 10, 1873 – September 8, 1966) was a German art historian (who should not be confused with Max Jakob Friedländer). Walter Friedlaender was the son of Sigismund Friedlaender and Anna Joachimsthal. Born in Glogau, he was taught art history by Heinrich Wölfflin and others. Among his first students was Erwin Panofsky. He taught at the Freiburg University (1914–1933), and the Institute of Fine Arts at New York University (1935-1966). According to architecture and art historian Rocky Ruggiero, in a seminal observation about Mannerism by Friedlaender in his work, ''Mannerism and Anti-mannerism in Italian Painting'', he presented the most sophisticated explanation of the transition from Renaissance art into the modern subjective "-isms" that followed the Baroque synthesis of Renaissance and High Renaissance styles.Friedlaender, Walter. 1965. ''Mannerism and Anti-mannerism in Italian Painting''. New York: Schocken. LOC 578295 (First edition, Ne ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
