MANNERISM & OTHER 16 CENTURY ART. MANNERISM & OTHER 16th CENTURY ART

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1 MANNERISM & OTHER th 16 CENTURY ART

2 Frontispiece of the Codex Mendoza Viceroyalty of New Spain. c CE. Pigment on paper. The Codex Mendoza is an Aztec book, created about twenty years after the 1521 Spanish conquest of Mexico with the intent that it be seen by Charles V, the Holy Roman Emperor and King of Spain. It contains a history of the Aztec rulers and their conquests, a list of the tribute paid by the conquered, and a description of daily Aztec life, in traditional Aztec pictograms with Spanish explanations and commentary. The codex is named after Don Antonio de Mendoza, then the viceroy of New Spain, who may have commissioned it.

3 Frontispiece of the Codex Mendoza Viceroyalty of New Spain. c CE. Pigment on paper. The Codex Mendoza is an Aztec book, created about twenty years after the 1521 Spanish conquest of Mexico with the intent that it be seen by Charles V, the Holy Roman Emperor and King of Spain. It contains a history of the Aztec rulers and their conquests, a list of the tribute paid by the conquered, and a description of daily Aztec life, in traditional Aztec pictograms with Spanish explanations and commentary. The codex is named after Don Antonio de Mendoza, then the viceroy of New Spain, who may have commissioned it.

4 Frontispiece of the Codex Mendoza Viceroyalty of New Spain. c CE. Pigment on paper. The Codex s frontispiece relates information about the organization and foundation of the Aztec capital, Tenochtitlan, or the place of the prickly pear cactus. Tenochtitlan was established in the middle of Lake Texcoco in the Valley of Mexico in Given that much of the former Aztec capital is below modern-day Mexico City, the Codex Mendoza frontispiece corroborates other information we have about the capital city and its origins. For instance, it shows us a schematic diagram of Tenochtitlan, with the city divided into four parts by intersecting blue-green undulating diagonals. The city was made of canals, similar to the Italian city of Venice, and was divided into four quarters. The image displays the division of the city and the canals running through it. The division of the city into four parts was intended to mirror the organization of the universe, believed to be four parts aligned with the four cardinal directions (north, east, south, west).

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6 Mosque of Selim II Sinan (architect), Edirne, Turkey. c CE. Brick and stone. The Selimiye Mosque, an Ottoman mosque, was commissioned by Sultan Selim II, and was built by an architect named Mimar Sinan between 1569 and It was considered by Sinan to be his masterpiece and is one of the highest achievements of Islamic architecture. The mosque s main structure consists of a succession of 18 small domes dominated by a huge central dome.

7 Mosque of Selim II Sinan (architect), Edirne, Turkey. c CE. Brick and stone. Beneath the main dome, which is supported by eight columns placed close to the walls an innovation at the time is the sanctuary, a large square space. Four tall, slender, three-balconied minarets on the structure s corners contrast with the mass of domes and half-domes. The mosque forms an architectural whole, with adjacent complementary buildings, including a school, a library, and a theological college, now housing archaeological and ethnographic museums.

8 Mosque of Selim II Sinan (architect), Edirne, Turkey. c CE. Brick and stone. Beneath the main dome, which is supported by eight columns placed close to the walls an innovation at the time is the sanctuary, a large square space. Four tall, slender, three-balconied minarets on the structure s corners contrast with the mass of domes and half-domes. The mosque forms an architectural whole, with adjacent complementary buildings, including a school, a library, and a theological college, now housing archaeological and ethnographic museums.

9 MANNERISM Period from High Renaissance (1520) to Baroque (1590) Comes from the Italian maniera, or "style," in the sense of an artist's characteristic "touch" or recognizable "manner." Elongated proportions Intense contrast & lighting Twisted poses Keywords: Busy, Dark, Twisted, Shadows, Dramatic, Clouds, Asymmetrical Parmigianino, Madonna with the Long Neck,

10 Examples of Mannerist

11 Tintoretto, The Last Supper, , Oil on Canvas.

12 El Greco Nicknamed The Greek, he was born in Greece and lived in Italy, but created most of his mature pieces in Madrid and Toledo (Spain) El Greco, Portrait of a Man (presumed self-portrait of El Greco), circa , oil on canvas.

13 El Greco, Assumption of the Virgin, 1577.

14 El Greco, Burial of Count Orgaz,

15 El Greco, The Holy Trinity, , oil on canvas, Museo del Prado, Madrid, Spain.

16 Rosso Fiorentino (meaning "the Red Florentine" in Italian) Rosso Fiorentino. Deposition. 1521, Oil on wood..

17 Compare Fiorentino s Deposition to Van der Weyden s Deposition

18 Rosso Fiorentino, Moses Defending the Daughters of Jethro, c1523 at the Uffizi Gallery, Florence.

19 Jacopo da Pontormo Born Jacopo Carucci in Pontormo Jacopo Pontormo, Deposition from the Cross, MANNERISM

20 Jacopo Pontormo, Deposition from the Cross (Entombment of Christ), Oil on wood MANNERISM This painting suggests a whirlwind of grief. They inhabit a flattened space with bright colors. The center of the composition droops down towards the limp body of Jesus off center in the left. Those lowering Christ appear to demand our help in sustaining the weight of his twisted body. No Cross is visible; the natural world itself also appears to have nearly vanished: only a lonely cloud exists as bright swathes of pink and blue envelop the pallid, limp Christ. The Virgin, larger than her counterparts, swoons sideways inviting the support of those behind her; the Swoon of the Virgin was a controversial moment at the time. The assembly looks completely interlocked, but ultimately, the most compelling and empathic figure is the crouching man in the foreground, whose expression mixes the weight of the cadaver and the weight of melancholy.

21 Il Gesu, 1550s. MANNERISM MANNERIST ARCHITECTURE Went against the grain of Renaissance Architecture by using Classical forms in illogical ways This is mostly due to the style being used only for secular purposes Symmetrical but highly ornamental Colossal order Blind Windows Il Gesu, 1550s. MANNERISM

22 Il Gesu, 1550s. MANNERISM

23 Il Gesu, 1550s. MANNERISM

24 Giovanni Battista Gaulli The Triumph of the Name of Jesus Il Gesù ceiling fresco, This fresco is not Mannerist in time or style, but by far Gaulli s best work. Gaulli's nave masterpiece is an allegory of the work of the Jesuits that envelops worshippers (or observers) below into the whirlwind of devotion. The vault of the nave at the Gesù was finally unveiled on Christmas Eve of A multi-media extravaganza of fresco painting, stucco, and architecture, it is a masterpiece of illusionism. It is as if the gilded stucco decoration of the ceiling, supported by white stucco angels, has opened up giving a vision of the heavens.

25 Giovanni Battista Gaulli The Triumph of the Name of Jesus Il Gesù ceiling fresco, The angels are the work of Ercole Antonio Raggi, right-hand man to Bernini, another reminder of the close link between Gaulli and his mentor. At the centre the monogram of the Jesuits, IHS an abbreviation of Christ s name radiates blinding light and cherubim. To the left, projecting out from the field of the painting, the Magi proffer their gifts to the name of Christ. The great theatrical effect here inspired and developed under his mentor, prompted critics to label Gaulli a "Bernini in paint" or a "mouthpiece of Bernini's ideas".

26 Giovanni Battista Gaulli The Triumph of the Name of Jesus Il Gesù ceiling fresco,

27 San Giovani in Laterano ()

28 MANNERIST SCULPTURE This version of the Rape of the Sabine Women has a vertical, spiraling composition that displays figura serpentinata (a twisting of the figures much like a serpent or snake). This statue depicts the story of how the Roman men made peace with the neighboring Sabines by abducting their women to take back as wives and populate Rome. Giovanni Bologna, Rape of the Sabine Women, MANNERISM

29 in Review Let s recap MANNERISM: 1.Figures are elongated and disproportionate 2.Asymmetrical (or even unbalanced) compositions 3.Unusual light sources (often unnatural or artificial) 4.Figura Serpentinata (Twisting of the body poses) Parmigianino, Madonna with the Long Neck,