Mannerism

The video provides an overview of mannerism as a transitional period between the

Renaissance and Baroque. It explores how mannerist art defies the conventions of
perspective, composition, and emotional restraint that characterized the Renaissance
aesthetic. The video highlights various paintings and artists that exemplify mannerism,
emphasizing the distorted proportions, exaggerated poses, and unconventional subject
matters. It also discusses the political and social factors that influenced the rise of
mannerism, as well as the erotic and salacious themes often found in mannerist art.
Additionally, the video touches on the architectural aspects of mannerism, noting the
unconventional use of classical elements and innovative designs in buildings. Overall,
the video offers a comprehensive view of mannerism as a unique and influential art
style.

• 00:00:00 In this section, the instructor introduces mannerism as a transitional

period between the Renaissance and the Baroque. Mannerism is not a defined
artistic epoch like the Gothic or Renaissance but rather a relatively short period of
60 years. Mannerist art defies the Renaissance aesthetic values by breaking and
violating the rules of perspective, composition, and emotional restraint. Instead,
mannerist art embraces twisted bodies, cramped spaces, imbalanced
compositions, and emotional displays. It is a truly international art style that
originated in Italy but spread throughout Western Europe, with many mannerist
artists serving as court painters for European monarchs or noblemen.
• 00:05:00 In this section, the video discusses how mannerist artists were not
interested in nature or landscapes and instead focused on creating art for a
narrow, elite audience who could appreciate the ways in which mannerist art
violated artistic conventions. The video also explores the impetuses behind the
rise of mannerism, including political turmoil and social instability during the
time, as well as the desire for artists to distinguish themselves from the preceding
generation. The concrete example given is Parmigianino's "Madonna and Child
with Angels," which showcases the departure from naturalistic anatomy with
elongated necks and spidery, boneless-looking fingers.
• 00:10:00 In this section, the art historian points out several characteristics of
Mannerist art in a particular painting. The composition is unbalanced, with figures
crowded on one side and open negative space on the other. The proportion of
the figures is deliberately distorted, with unnaturally long legs and short torsos.
Additionally, the artist deliberately violates the rules of scale, as seen in the tiny
size of the prophet. The Christ child appears pale and lifeless, contrasting with the
warmer flesh tones in previous paintings. Moving on to another work, the art
historian highlights the classical subject matter and the influence of Renaissance
 techniques. However, overall, the painting is different from a typical Renaissance
composition. The space feels cramped and claustrophobic, and the figures
resemble marble rather than living flesh. The mannerist style is characterized by
distorted and contrived poses, seen in the figure of Cupid. This intentional
contrast between naturalistic Renaissance style and artificial mannerist style is a
notable feature of the painting.
• 00:15:00 In this section, the speaker discusses a painting from the Mannerist
period, pointing out various elements and symbols within it. They mention a
figure that could represent Time, a young girl with a reptilian body as a
representation of fraud, and the ambiguous nature of the allegory depicted in the
painting. The speaker also notes the erotic and salacious themes often found in
Mannerist art, drawing a parallel to Venetian Renaissance art. Moving on, the
speaker introduces El Greco, a painter considered to have Mannerist
characteristics. They discuss the elongated and thin figures, as well as the
supernatural and artificial lighting in his paintings. While El Greco's work often
had a clear religious message, unlike other Mannerist artists, the speaker points
out a specific painting that depicts a miraculous event involving saints.
• 00:20:00 In this section, the speaker discusses a painting that displays both
Renaissance and Mannerist influences. The composition is divided into the earthly
realm on the bottom and the heavenly realm on top, with numerous angels and
saints surrounding Jesus and Mary. The painting challenges the Protestant belief
that individuals face God alone after death, as it depicts a heavenly throng
interceding for the recently departed Count Orgas. This religious message aligns
it with the early Baroque style. Additionally, the speaker points out an amusing
detail: a handkerchief in the pocket of a boy in the painting bears the inscription
"El Greco made me," serving as a clever signature and a joke about the artist's
son. Finally, the speaker introduces Tintoretto, a Venetian painter whose works
exhibit Mannerist tendencies and set him apart from other Renaissance artists.
• 00:25:00 In this section, the speaker discusses the Last Supper and compares
Leonardo da Vinci's version to a reproduction that exemplifies the difference
between Renaissance and Mannerist aesthetics. While da Vinci's work displays
simplicity, balance, and natural lighting, the Mannerist reproduction features a
motley crew of figures, artificial lighting, and a supernatural element with angels
formed from smoke. The speaker explains that this emphasis on the miraculous
aligns with Catholic doctrine, contrasting the rejection of such beliefs by most
Protestants during the post-Reformation period. The composition and aesthetic
choices in the reproduction clearly show the influence of Mannerism. The section
concludes with a mention of the San Giorgio Maggiore in Venice, emphasizing
the connection between Venetian Renaissance and Mannerism.
• 00:30:00 In this section, the speaker explains that Mannerist art, although
stemming from Renaissance art, incorporates some familiar elements such as
classical vocabulary and architectural features. However, what sets Mannerist art
apart is the unconventional and unclassical use of these elements. One example
highlighted is the broken pediment, where a second incomplete pediment is
superimposed on top of the classical one. This kind of innovation is distinctively
Mannerist and deviates from the simplicity of Renaissance architecture.
Additionally, the speaker points out the presence of four tall bases for the
Corinthian pillars, which is not typical of classical or Renaissance architecture. This
discussion provides an insight into the complex and unique designs of Mannerist
buildings.