Collection
Language
Publication
Penguin Books (1991), Edition: Reprint, 224 pages
Description
Manierismo was the extreme consciousness of elegant style for its own sake, a passion which unites the cold narcissistic nudes of Bronzino, the elaborate chiselling of Benvenuto Cellini's saltcellar, and the water-games in a duke's garden.
User reviews
LibraryThing member giovannigf
This short overview does a great job of defining the Mannerist style in art, architecture, literature, theater, music, and design. It's written for the layman but it's substantial enough for art history students. The illustrations are small and black and white, but I'm not complaining because - as
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opposed to coffee-table books - I could actually take this with me to read wherever I went. I was so happy with it I ordered the volumes on Gothic and Early Medieval art. Show Less
LibraryThing member P_S_Patrick
Mannerism is a controversial term in Art History, though its characteristics are easy to recognise – exaggerated elegance, variation in posture and decoration, and asymmetry. As a period in Art History, Mannerism developed as a reaction against the classical values of antiquity and the
Two factors in its development were the fashion of the court (the source of many of the artists' commissions), where elegance was almost a competitive sport, as well as the scope that mannerism afforded the artist for showing off his virtuosity in executing difficult poses and complicated compositions. This went very much against the formalised composition and natural poses favoured in antiquity and the Renaissance. Much of what was good in the mannerist period was taken forward into the Baroque, made less frivolous and more genuinely theatrical and emotional (instead of vapid), before many of the superficiality and exaggerated style of mannerism was reverted to in the late Baroque or Roccoco period.
While mannerism is often used as a derogatory term, this book gives a balanced view of both its qualities and deficiencies. It not only covers mannerism in painting and sculpture, but also in literature and architecture. There are a good number of illustrations which are appropriate to the points being made in text.
If mannerism is often overlooked as being equivalent to the light-weight Instagram age of its day, falling between more serious periods, this book not only explains the historical conditions behind this phenomenon, but does justice to the sometimes overlooked quality of many of the works, and their lasting influence. As the previous reviewer has noted, there is probably much here for both the reader with a general interest in art as well as the art history student. Overall a great introduction to this work, and recommended reading to anyone with a passing interest in art.
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Renaissance, mediating the transition into the Baroque period with which it has far more in common. Two factors in its development were the fashion of the court (the source of many of the artists' commissions), where elegance was almost a competitive sport, as well as the scope that mannerism afforded the artist for showing off his virtuosity in executing difficult poses and complicated compositions. This went very much against the formalised composition and natural poses favoured in antiquity and the Renaissance. Much of what was good in the mannerist period was taken forward into the Baroque, made less frivolous and more genuinely theatrical and emotional (instead of vapid), before many of the superficiality and exaggerated style of mannerism was reverted to in the late Baroque or Roccoco period.
While mannerism is often used as a derogatory term, this book gives a balanced view of both its qualities and deficiencies. It not only covers mannerism in painting and sculpture, but also in literature and architecture. There are a good number of illustrations which are appropriate to the points being made in text.
If mannerism is often overlooked as being equivalent to the light-weight Instagram age of its day, falling between more serious periods, this book not only explains the historical conditions behind this phenomenon, but does justice to the sometimes overlooked quality of many of the works, and their lasting influence. As the previous reviewer has noted, there is probably much here for both the reader with a general interest in art as well as the art history student. Overall a great introduction to this work, and recommended reading to anyone with a passing interest in art.
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Original language
English
Physical description
224 p.; 5.38 inches
ISBN
0140137599 / 9780140137590