Mannerism

In fine art, the word "mannerism" derived from the Italian word 'maniera', meaning "style" or "manner". It refers to a style of painting, sculpture and architecture. Maniera usually indicate a specific type of style, for example Gothic style or indicate someone "has style" to describe a personal or group style, such as mannerism of Michelangelo.

Mannerism developed in Rome and Florence between 1510 and 1520, during the later years of the High Renaissance. At that time, technical reached near perfection. The young artists find a new goal and approaches to the free play of the imagination. Thus Mannerism appeared.

Mannerism art is quite different with High Renaissance art. High Renaissance art is natural, graceful, balanced and harmonious, Mannerism broke clarity and order. Mannerist compositions were full of artificial and less naturalistic, such as nervous movement, distorted jumble space, arbitrarily proportions, clashing colors, and irrational light.

 Parmigianino, Madonna with the Long Neck, Oil on wood, 1534-40, Uffizi, Florence.

Parmigianino's best know work Madonna with the Long Neck, Painters abandoned the basic structural model that stabilized the painting, and foreground and the background appear without transition. In the middle, the Virgin Mary seated on a high pedestal in luxurious robes and holding a rather large baby. Angels crowded together in a narrow corner on her right side, looking at the Christ-child. In the lower right-hand corner of the painting is a broad, dark landscape, its only focus a very small figure of the prophet. 

This painting full of characteristic of Mannerism such as slender limbs, splayed twisting and turning bodies, contradicting proportion. Jesus is extremely large for a baby and he lies precariously on Madonna's lap. The Madonna is also very large, she is almost twice the size of the angels. Particularly striking is the long gracefully curved neck, which gave the painting the title Madonna with the Long Neck.

However, this bizarre style is also allow us to appreciate another beauty, fantasy, and  creativity.

Hans Holbein's The French Ambassadors

Hans Holbein The Younger, The French Ambassadors, 1533. Oil and tempera on wood.

The French Ambassadors is the most famous work by Holbein. This painting shows two rich, educated and powerful young men with books and instruments. On the left is Jean de Dinteville, French ambassador to Englan. On the right side is his friend, Georges de Selve, bishop of Lavaur.  The painting is well known for its anamorphic image of a skull in the foreground, the still life of several meticulously rendered objects on the shelf between the two men have a lot of hidden mysteries.

In the middle is a shelf covered with many objects that include the four mathematical sciences: arithmetic, geometry, music, and astronomy.  The objects on the upper shelf which reflects the heavens include a celestial globe, compasses, sundial, cylindrical calendar, level, and quadrant used for understanding the heavens and measuring time. On the lower shelf which reflects living world, musical instruments, a hymn book, a book of arithmetic, and a terrestrial globe. In the front is the anamorphosis image of a skull, a symbol of mortality.

The conflicts between secular and religious authorities were reflected symbolically in the details. For example, the figure on the left is in secular attire while the figure on the right is dressed in clerical clothes. The broken lute string signifies religious divisions. The open book is Lutheran hymn book may be a plea for Christian harmony. A crucifix is half-obscured by a green curtain in the top left corner of the painting, symbolizing the division of the church.

One of the most famous aspects of the painting is the huge distorted skull at the bottom center. This painting may hang in a stairwell, so when people walking up and down the stairs and passing the painting would be startled by the complete appearance of the skull. This painting also has many beautiful details such as various textiles including the floor mosaic.

In summary, The French Ambassadors is more than just a double portrait. It also reflects the political, religious, and his personal philosophy of life.  In addition, it is a much-cited example of anamorphosis in painting.



Reference:
The Ambassadors (Holbein), Wikipedia, the free encyclopedia, 23 September 2014,
http://en.wikipedia.org/wiki/The_Ambassadors_%28Holbein%29

 

Description of Jan van Eyck's Arnolfini Portrait

Arnolfini Portrait is a 1434 oil painting on wood by Jan van Eyck. The painting is a full-length portrait, the two main characters are Italian merchant Giovanni Arnolfini and his wife in the bedroom of their home.

Giovanni and his wife are gazing each other and the wife rests her hand in her husband's palm.  The small dog may also have been part of the couple's home. The two figures are very richly dressed, shows their wealthy family. The interior of the room has other signs of wealth. The brass chandelier  with a single candle burning is large and elaborate, it would have been very expensive. The very interesting thing is the convex mirror on the back wall, because viewers can see not only Arnolfini and his wife, but also two people who look into the room through the door. One of them should be the artist Jan van Eyck. And he wrote "Johannes de Eyck fuit hic 1434" above the mirror to announces he was present.

The painting has remarkable realism. Jan van Eyck used the technique of glazes to create a painting with an intensity of both tone and colour. Everything in this painting are exquisite. He carefully distinguished textures and light to show the space in an interior. Jan van Eyck use rich colours also help to highlight the realism, and to show Arnolfini's luxury lifestyle.

Great Equestrian Statues of the Italian Renaissance

Donatello's Gattamelata and Andrea Del Verrocchio's Bartolmmeo Colleoni

      Andrea Del Verrocchio's Bartolmmeo Colleoni, 1445-1453, Bronze,12'12" high

                 Donatello's Gattamelata, 1481-1496, Bronze, 13' high


The Equestrian Statue of Gattamelata is a sculpture by Italian early Renaissance artist Donatello , dating from 1453. Andrea Del Verrocchio's Bartolmmeo Colleoni1481-1496  is later than Gattamelata. Verrocchio and Donatello were contemporaries and it is likely that Verrocchio was heavily influenced by the Gattamelata.

Both of these statues are made to depict condottiere. And both statues sit on a pedestal, They have similar size(12'2" and 13") and both condottieros and the horses are portrayed in life size. They are both sit high on horse and hold a baton, so they looks majestic. The baton was a symbol of military leadership, further emphasizing their might and abilities. The simple depiction of the real people is enough to convey their power. Both statue not only reproduce the grandeur of ancient Rome, but also shows the characteristics of the early Renaissance. It's "realism", no   not "idealism".

The emotion on Gattemelata's face is very serious. Donatello portrays Gattamelata as a composed, alert and watchful leader, and  full of heroic mettle. He looked at the front and raised his baton. He seemed to command his soldiers and horse for fighting .The horse's front left hoof rests on an orb and it have a formal posture.

For Bartolmmeo Colleoni, notice his stern face. His head raised. He looks very courageous, and more arrogant. The character was wearing a hat and looking at the left front. He seemed to Inspect his troop The horse has a more natural posture, it slightly tilted head. It feet lifted a hoof with a natural angle, so the dynamic gait made it has more dynamic. This horse seems in a movement, it was aggressive and had so much strength.