MANNERISM (1520 – 1600) Made by: Manisha Khandelwal

Timeline

Medieval

Pre Romanesq

ue

Gothic/ Romanesqu

eRenaissanc

e Baroqu

e

Neo- Classicism

Romanticism

Modern

Renaissance

High Renaissanc

e Mannerism

500 1000 1400 1600 1700 1900 2000

1400 1500 1520 1600

Introduction Mannerism comes from Italian word maniera means

“style” or “manner”. Mannerism is a style emerged around 1520 to 1600 in

Italy. By the end of high renaissance, young artists

experienced a crisis : it seemed that everything that could be achieved was already achieved. No more difficulties, technical or otherwise, remained to be solved. Everything reached to perfection.

The young artists needed new goal, and they sought new approaches. At this point MANNERISM started to emerge.

The Michelangelo was one of the great role models of mannerism.

CONFLICT AND TENSION IN MANNERISM IN PLACE OF HARMONY AND ORDER OF RENAISSANCE

Mannerism Elongated feature. Eg Madonna

with long neck. Emphasis on graceful but strange

manner with elongated limbs, small heads, and stylized special feature , while their poses seem difficult or contrived.

Mannerist pushing exaggeration and contrast to great limits with very bright vivid colors and high contrast which results in strange, intense and unnatural colors emphasis on abnormalities of scale.

Expressive form Very bright and vivid colours are

used.

Figures in proportion. Emphasis on composition of

elements with balance, symmetry and rational composition.

flattened and obscured so that the figures appear as decorative arrangement of forms.

Classical form Normal form of colour is used,

which is pleasant to look.

Renaissance

Mannerism originated as a reaction to the harmonious classicism and the idealized naturalism of high renaissance art.

Madonna with long neck (mannerism)

Girl with a long hand (mannerism)

Very bright vivid colors (mannerism)

Pleasant colors used (renaissance)Proportionate (renaissance)

Feature/ Characteristics in Architecture

Blind windows

Colossal order

Highly ornamental

Architecture Villa rotunda and villa Capra, Vicenza, Italy (1566-71)

Architect : Andrea Palladio Architectural style: Palladianism Central Church Abundant frescoes creates an atmosphere that is more

reminiscent to a cathedral .

PEDIMENT AT EACH PORTICO GRACED WITH STATUE OF CLASSICAL DEITIES

Private villa (home) designed according to the basic schema of a central church much like Pantheon.

It includes 4 porticoes facing each of the compass points. They are designed to give the resident a clear view of land.

Another change to the central church plan is proliferation of windows and arches throughout the structure which light the interior of the building.

Central area over the dome with bedrooms and other roomes.

Central church Overall the basic plan really doesn’t make sense for a

private home but this kind of plan wasn’t created in order to house the Capra family in a practical way but rather to cover them in a church. PORTICO

CENTRAL AREA UNDER THE DOME BEING THE GRANDEST

SYMMETRIC BUILDING

PILLARS

Villa Villa Farnese at Caprarola

Plan of a building

Elevation of a building

Circular courtyard in a Pentagon plan

Villa Villa Farnese at Caprarola

View of a building Section of a building

Villa Villa Farnese at Caprarola, Rome (1560)

Architect: Giacomo Vignola Finest eg. Of Renaissance architecture. It is known today as mannerism was a reaction to

the ornate earlier high renaissance Ornamented to achieve proportion and harmony. Villa at caprarola, plans as built were for a pentagon

constructed around circular colonnaded courtyard. In the galleried court paired ionic columns. Niches containing busts of the Roman emperors Rusticated arcade.

Church Church of San Giorgio Maggiore ,

Venice , italy

Elevation a churchView of a church

• Architect: Andrea Palladio

Plan of a church

• Interior o long naveo White stucco and grey stoneo Corinthian order in entire

interior

Side elevation

• Some Turkish influences in the exterior particularly the two campanile which resemble minarets

• On the façade a central triangular pediment

• He used an

adaptation of triumphal arch .

Church Church of San Giorgio Maggiore, venice (1566)

The formal elements that make this church a Mannerist style church are how the façade is organised and the strange design of interiors.

The façade is made of 2 layers 1) façade that is placed on pillars and breaks the space of the

triangular pediment it contains. 2)the interior, often flattened pilasters are combined with

engaged double columns in odd grouping which are bit unusual.

Most striking feature of the decoration is the ceiling frescoes. Frescoes can be seen in cupola, including Lantern &

pendentives, central vault, window recesses and transepts ceiling

Frescoes in arches depicts the male martyr saints. High altar, dominated by 4 columns under a neo classical

pediment. Blind windows

References Ar. Priyanka mam’s pdf. www.google.com www.slideshare.net wikipedia www.britannica.com

Thank you