mAnnErism
in thE wAkE oF thE high rEnAissAnCE,EuropEAn Art sEEmED to hAvE no FrontiErs lEFt to ExplorE. mAnnErism, thE stylE ChArACtEristiC oF thE lAtE rEnAissAnCE, FillED thE gAp BEtwEEn thE rEnAissAnCE AnDBAroquE pErioDs. thE stylE BrokE From thE BAlAnCED BEAuty oF thE rEnAissAnCE AnD rEFlECtED thE turmoil AnD ConFusion oFEuropE During thE 16th CEntury.At thAt timE thE rEFormAtion thrEAtEnED thE Authority oF thECAtholiCChurCh, AnD thEChurCh’s rigorous rEsponsE CAst A suspiCious EyE towArD Anything nEw. thE uniquEnEss oF mAnnErist Art mAy BE sEEn As An AttEmpt By thE Artists oF romE, FlorEnCE, AnD mAntuA to FrEE thEmsElvEs oF not only politiCAl AnD rEligious opprEssion But Also thE opprEssion oF thE rEnAissAnCE mAstErs’ pErFECtion.
whilE thE Artists oF thE high rEnAissAnCE pursuED grACE, BEAuty, AnD hArmony, mAnnErist Artists DiD not sEEm to BE intErEstED in thEir prEDECEssors’ sEnsiBilitiEs. using rEnAissAnCE tEChniquEs AnD mAtEriAls, thE mAnnErists rEnDErED ContortED AnD ExAggErAtED FigurEs oFtEn in improBABlE posEs. thEy usED strAngE Colors in DEliBErAtEly unrEAlistiC pErspECtivE with thEmEs thAt inCluDED BothChristiAnity AnD BizArrE mythologiCAl symBolism. whilE nEithEr ExpliCitly hErEtiCAl nor ABstrACt By moDErn stAnDArDs, mAnnErist Art suggEstED An oDD spirit AnD BECAmE populAr not only in itAly But in mAny pArts oFEuropE.
rosso FiorEntino typiFiEs mAnnErist Art in his suBtly DisturBing stylE. For ExAmplE, sAints who ArE grACEFully DEpiCtED in high rEnAissAnCE Art oFtEn sEEm tirED in rosso’s work. ■
A、his ChoiCEs in Composition, Form, AnD Color Also sEEm unsEttling CompArED to typiCAl rEnAissAnCE work. in rosso’s mAstErpiECE, thEDEsCEnt From thECross, thE winD Blows ACross thE Clothing oF FrAntiC FigurEs As thEy Bring Down thE BoDy oFChrist. ■
B、in thE ForEgrounD, howEvEr, thErE is no EviDEnCE oF winD At All on thE mournErs’ CAlm, stiFF Clothing. ■
C、notABly, All oF thEsE FigurEs AvErt thEir gAzE From thE viEwEr ExCEpt onE womAn. ■
D、
rosso’s ContEmporAry, jACopo DA pontormo, ExECutED thE sAmE thEmE in A somEwhAt lEss DrAmAtiC FAshion. thEDEposition From thECross, whiCh is ConsiDErED onE oF his BEst works, FEAturEs oDDly posED FigurEs ClothED in viviDly ContrAsting BluEs AnD rEDs. pontormo DEpiCts impossiBlE pErspECtivE, spAtiAl DEpth AnD lighting in thE pAinting. thE lighting From thE right DoEs not sEEm EspECiAlly unusuAl until onE ConsiDErs A ClouD in thE sky, whiCh is lit From thE lEFt. suCh pECuliAr visuAl DEviCEs oF moDEling, Color, pErspECtivE, AnD lighting ChArACtErizE pontormo’s work As wEll As mAnnErist Art in gEnErAl.
pErhAps thE BEst-known mAnnErist,El grECo DEpArtED thE most From thE rEnAissAnCE pErioD’s ClArity, hArmony, AnD BEAuty. his Brushwork wAs not As shArp As thAt oF thE high rEnAissAnCE mAstErs, Evoking morE primitivE As wEll As morE moDErn stylEs.El grECo is known For his FAntAstiCAl Compositions, inCluDing DistortED FigurEs AnD Colors thAt sEEmED to lEAp oFF thE pAinting surFACE. his work wAs so strAngE thAt pEoplE wonDErED iF hE wAs visuAlly impAirED or mEntAlly DisturBED、El grECo’s work wAs somEtimEs moving, But it wAs Also trouBling with thE intEnsE rEligious thEmEs AnD mystErious symBolism.
mAnnErist Art wAs not just A rEFlECtion oF thE 16th-CEnturyEuropE’s trouBlEs; it wAs ConsiDErED A rEsponsE to thE sEEmingly unsurpAssABlE iDEAlism oF thE high rEnAissAnCE. thE mAnnErists suBtly sought to stimulAtE thE minD, not to inspirE rEligious FEElings AnD ACtions As most rEnAissAnCE Art DiD、thE stylE proDuCED ExCiting mAnipulAtion oF Form, Color, light, pErspECtivE, AnD thEmE thAt wAs inDEED ApprECiAtED By ContEmporAry intEllECtuAls.Although it wAs AnD still is CritiCizED By somE As A Corruption oF rEnAissAnCE ClAssiCism, mAnnErism in FACt inspirED thE Emotion oF thEBAroquE pErioD thAt FollowED、morEovEr, thE mAnnErists’ DEliBErAtE movEmEnt AwAy From oBsErvED rEAlity wAs thE First stEp to