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1. Syllabus - History of Art,8th semester
1. Mannerism
2. Baroque Art
3. Romanticism
4. Realism
5. Impressionism
6. Post-Impressionism
7. Expressionism
8. Cubism

2. Mannerism
History of Art,8th semester

3. Mannerism
• Derived from the Italian maniera, meaning simply “style,” mannerism is sometimes defined as the “stylish
style”.
• Mannerism coincided with a period of upheaval that was torn by the Reformation, plague, and the devastating
sack of Rome. After its inception in central Italy around 1520, mannerism spread to other regions of Italy and to
northern Europe.
• Mannerism describes a style and movement of art developed in Europe. It functions as a link between the ideal
elegance of Renaissance art and the histrionic staginess of the Baroque, which adopted the subset's decorative
visual and modified it as an indulgence.
• Mannerist style is a style of fashion of Italian origin during the late sixteenth century.
• The style is characterized by artificiality, elegance, and sensual distortion of the human figure. The painting and
sculpture mostly show elongated and distorted symbols in which the artists aim to make art look elegant.
Mannerist style depicts figures in their characteristic serpentine shapes.

4. Characteristics
• A key element of Mannerism was the use of figurative serpentinata, or "serpentine figure" in
depicting human bodies. With extended limbs, elongated forms, and a fluid S-shaped grace, these
figures presented an otherworldliness that departed from classical renditions.
• Many Mannerist works presented individuals or scenes in non-naturalistic settings, oftentimes
without any contextual basis, inviting the viewer into a more philosophical experience rather than a
literal reading of the work.
• Mannerist artists revisited the Early Renaissance interest in elaborate ornamentation, covering both
canvases and sculptures in an overwhelming abundance of decorative elements.
• Mannerists abandoned the naturalistic colors used by High Renaissance painters and instead
employed artificial—and often garish—tones.

5. Parmigianino (1503 – 1540)
• Parmigianino was an Italian painter and printmaker.
• He was noted for his subtle portrait art, his chiaroscuro woodcuts and his etching.
• His art is renowned for its elegance and sensuality as well as its elongated figures, which
often add a sense of movement and freedom.
• Vasari stated, he was 'celebrated as a Raphael reborn. ' Parmigianino successfully
managed to blend a sensuous style with the classical style of Raphael.
• Parmigianino's works was notable for the freedom of his brushstrokes, his elegant decorative
schemes, and a subtle rendering of spatial incongruity and elongated human figures. He was
drawn to the idea of the supernatural, rather than the natural, but his art managed the fine
balancing act between expressive splendor and technical control.
• He would often apply a vivid use of color to create an impression of tension within the picture
frame, while his figures, both portraits, and characters within religious scenes, are often imbued
with a rather daring sensuality.
• He was one of the first Italian painters to venture into etching, using the etching needle with the
same (if not more) freedom he used with his pen. He would use etchings to reproduce earlier
drawings creating high demand for his graphic work both domestically and abroad.

6. Parmigianino, Self-Portrait in a Convex Mirror, Oil on convex wood panel
,ca. 1523-1524, - Kunsthistorisches Museum, Vienna, Austria
• The entire picture is lit by daylight originating from the
window in the back-left, but then reflected from the
mirror surface back onto the boy's hand and face.
• The drawing hand swings and flexes through the
foreground of the globed composition, making it
appear large and domineering, whilst the angelic
delicacy of the artist’s face is allowed to recede into a
kind of calm power in the mid-ground.
• Details like the wood paneling in the roof, the diamond
hatch leading of the window design, the frost or dust on
the pane, and the play of light on the boy's ring
• The boards and panels and doorways of the artist's
home in Parma are visible in the background even as
they seem to shy away in the distorted frame giving
them a demur, intimate feel.

7. Parmigianino, Madonna with Long Neck, Oil on Panel,1534-1540, The Uffizi Gallery, Florence
• The elongated figure of the Madonna is a stunning
reflection of grace and elegance.
• The assemblage of the various limbs and their angles
in relation to one another is as harmonious and
balanced as it is asymmetrical.
• The elongated and stylized infant Christ stretches
across the scene, joining interior and exterior; flesh and
the ether.
• The figure of St Jerome and the scroll is relegated to
an odd and arresting position

8. Jacopo Tintoretto (1518/19- 1594)
Renaissance, Venetian Painting, and Mannerism
• Tintoretto was born in Venice c. 1518 CE, his given name being Jacopo Robusti.
• He acquired his more famous nickname because his father was a dyer (tintore), and
Tintoretto means 'little dyer’.
• The young artist studied under his fellow-Venetian Titian
• He incorporated the technique of disegno, which emphasized the importance of defining
form using lines
• Tintoretto is noted for his blend of stylistic features: elongated forms, a dynamic articulation, linear arabesques
linked to a forceful plasticity, all translated into a completely personal language and animated by an original
handling of light.
• Light source plays a dominant role in his compositions, often creating an unusual and
dramatic area of colour and shadow in the scene.

9. Jacopo Tintoretto, Self-portrait as a Young Man, Oil on canvas ,1548,, Collection of
Philadelphia Museum of Art, Philadelphia, Pennsylvania
• Tintoretto painted this expressive self-portrait as he
reached 30 years old.
• His dark curly hair, mustache, and beard, along with his
black jacket nearly blend into blue-black background
while his face appears as if glowing in light against the
darkness.
• The starkness of the composition, quite unlike his
densely populated narrative paintings, was
unprecedented, as the artist provides no details to
indicate a place, context, or even his profession as an
artist.
• Tintoretto's gaze is truly captivating, with his head
turned over his right shoulder he stares directly out
providing an uncompromisingly direct confrontation
with the viewer.
• The visibly pronounced brushstrokes, appearing as
natural highlights on the artist's face from afar, seem
as nearly impasto patches of paint on the surface of
the composition.

10. The Last Supper, Oil on canvas ,1592-94Collection of Church of San Giorgio Maggiore, Venice

11. • Painted for the Church of San Giorgio Maggiore, this late version of the Last Supper effectively divides the
canvas into two scenes, contrasting the spirituality of the scene on one side of the table with the secular
world on the other. In a central position, Jesus Christ stands surrounded by his disciples, all on the far side
of the table. Eleven disciples and two women stand on the same side of the table as Christ, one of the
women wears blue, the other is in red, symbolic colors associated with The Madonna and Mary Magdalene,
respectively. Also behind Christ on the left side of the canvas, the hanging lamp casts out an illusionary
glow, a golden circle of light casting rays across the scene accented with trails of smoke that morph into
sketchy, translucent-like angels who bear witness to the event. Across the table, and in one way that
Tintoretto follows tradition, is Judas, the betrayer, who sits among the servants and staff of the earthly
realm, who appear to be serving the Last Supper to the heavenly gathering.
• In contrast to Leonardo's balanced, symmetrical frontal composition, Tintoretto's pictorial space is given a
dynamic quality by the table placed diagonally to the picture surface. In Leonardo's painting Jesus was what
the Christian faith said he was: quite human and quite divine at the same time. In Tintoretto's picture this
peaceful coexistence falls apart again. There is a clear difference between the hustle and bustle of the world
in the foreground, where the servants are busily fetching food and drink, and the theological story in the
depth of the painting. These two levels are united only by the lighting and the ecstatic vitality of the pictorial
structure as a whole, which is lent compositional equilibrium by a barely visible band of angels swirling
above the whole scene.

12. • Christ stands far back in the compositional space created by the artist, behind the mass of
secondary servant figures who crowd the chaotic scene. Most notably Christ does not
represent the vanishing point, an approach most famously employed by Leonardo da Vinci.
• The extremely dark composition, accented with sharp contrasts of bright light to highlight
Christ and the celestial angelic figures above, not only sets him apart from the highly
saturated use of color usually associated with the School of Venice.