Mannerism

The Art & Architecture of 16th century.

1520-1600

RENAISSANCE
PHASES

Early renaissance.

High renaissance.

Late renaissance called MANNERISM

Mannerism Art History

The term Mannerism was developed

through the Italian word maniera which
means style.

It was an art style that depicted the

human form in inflated poses, in
unrealistic settings.

The art period is essentially the late

Renaissance as it followed the High
Renaissance art period.

The Mannerist art movement first

appeared in Florence and Rome, later in
northern Italy and central and northern
Europe.

Characteristic paintings of
Mannerism

Artificial colors.

Unrealistic proportions.

Off beat perspective.

Complex composition.

inflated or elongated figures.

There are two things

that tend to show up in
Mannerist works:-

The first is an
elongation of the neck
and torso (and
sometimes strangely
fluid arms and legs) in
portraits or figurative
paintings.

The second element

sometimes seen in
Mannerism is
symbolism.

The most famous

Mannerist artists are
Parmagianino,
Madonna
withand
the Long Neck, 1534-40
Raphael

ARTIFICIAL BACKGROUND

QUITE A CROWD

El Greco, Burial of
Count Orgaz,
1586-88.

Tintoretto,TheMaundy(ChristWashingTheFeetofHisDisciples),1547

JacoboTitntoretto,Venetian,151894
Veryemotional,unreallight,suddenlightsanddarks

The key characteristics of Mannerism

New development at this time was simple

archaeology.

The Mannerist artists now had actual works,

from antiquity, to study. No longer did they
need to use their respective imagination when
it came to Classical stylization.

The Mannerist artists almost seemed

determined to use their powers for evil.

Where High Renaissance art was natural,

graceful, balanced and harmonious, the art of
Mannerism was quite different.

MANNERIST COMPOSITIONS
WERE FULL OF CLASHING
COLORS, disturbing FIGURES
WITH ABNORMALLY
ELONGATED LIMBS, (OFTEN
TORTUROUS-LOOKING)
EMOTION AND BIZARRE
THEMES THAT COMBINED
CLASSICISM, CHRISTIANITY
AND MYTHOLOGY.

ELONGATION
OF HAND

ARTIFICIAL COLOR

Mannerism architecture
In architecture the style was manifested in
the use of unbalanced proportions and
arbitrary arrangements of decorative
features.

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

Characteristics of
Mannerist Architecture

Stylishness in design could be

applied to a building as well as
to a painting.

Showed extensive knowledge of

Roman architectural style.

Complex, out of step style

taking liberties with classical
architecture.

Architecture, sculpture, and

walled gardens were seen as a
complex.

 Entrance to
the Villa
Farnese at
Caprarola
By Giacomo
Vignola
1560

 Giacomo da Vignola
Wrote The Rule of
the Five Orders of
Architecture
1563
Became a key
reference work for
architects.

ARCHITECTURAL FEATURES

BLIND WINDOWS

COLOSSAL
ORDER

HIGHLY
ORNAMENTAL

Palladio, Villa Rotunda, 1567-70

Mannerist architecture is
hard to define.

Palladio was 2nd only to

Michelangelo during this
time period.

Thought that
architecture should be
governed by reason and
by certain universal
rules perfected during
ancient times.

PALLADIAN ARCHITECTURAL
STYLE [POPULAR IN
ENGLAND].

VILLA ROTUNDA IS A RESIDENCE,

SHAPED LIKE A TEMPLE (HE
WAS CONVINCED THAT ROMAN
BUILDINGS WERE ALSO
SHAPED LIKE THIS).

CENTER SPACE UNDER THE

DOME BEING THE
GRANDEST,

PILLARS

SYMMETRY

Each side of the

building is
mirrored to the
apposing side.

DOME in center
showing
geometry

Proportions are not always made to the human body in architecture,

they are made in proportion to power.
The taller or largest building make them appear more significant.

Each side of the

building is
mirrored to the
apposing side.

IL REDENTORE, Italy, 1577- 1592

Designed by Andrea
Palladio.

The designed from the

Pantheon in Rome, which
was also the inspiration for
the Dome.

Flanking bell tower taken

from Romanesque
Architecture.

The building had to

accommodate a lay people
attending worship, monks
and the processional
service.

Redentore (1576-1577)

TRANCEPT
NAVE

PORTICO

CHOIR

SANCTUARY

FOUR COLUMN
DISTINGUISHED THE
SANCTUARY

COMPOSITE ORDER

A broad steps leads into

huge, triumphal archstyle entrance portico
recessed into the faade.

ENTRANCE OF IL REDENTORE

BELL TOWER TAKEN

FROM
ROMANESQUE
ARCHITECTURE

STUCCO WAS USED

ON FRONT FAADE
AND ON DOME.

BRICK WAS USED

USED SEMICIRCULAR ARCH.

HIGHLY ORNAMENTED.

THE INTERIOR OF
IL REDENTORE IS A
PERISTYLE HALL.

INTERIOR OF IL REDENTORE

PALLAZO DEL TE, MANTUA,

ITALY, 1525- 1534

Designed by Giulio Romano.

Giulio Romano was invited by Conzaga

family in Mantua, where Giulio remained
for the rest of his life, for the construction of
a palazzo as Federico Gonzaga's lover's
house.

The antecedence of the palazzo del Te was a

stable in Isla del Te in Mantua and later it
was
rebuilt as a villa.
Giulio left Rome to go to Mantua in
1524 and soon he started to design for
remodeling the villa to a palazzo.

Palazzo del Te has a

square court and large
garden on the east side.

The facade of east wing

is different from others
by adding a row of
Paladian motifs columns
to a wall.

The central part of the

facade has three arched
openings, a Loggia of
David, and the wings
whose Paladian motifs
are gradually
metamorphosing.

The east facade of east

wing, seen from the
east garden.

THE NORTH
FACADE.

The four facades outside have flat pilaster and

rusticated wall and it looks like two storied
building.
The facade is not symmetry and the spans of
the columns are irregular.

THE EAST FACADE

OF EAST WING,
CENTER PART
(LOGGIA OF
DAVID).

A CANAL AND A BRIDGE SUGGEST THE

EXISTENCE OF A BASEMENT.

Two doors at the end

of the loggia leads
to "the Room of
Stucco" but the
left side door is
dummy.

East wing, Loggia of David.

Loggia of David, seen

from the loggia of the
entrance.

The center axis.

Two pairs of columns are

rough surface on the
contrary the vault is fine
finish.

And beams have keystone

shaped decolations which
is used in masonry
structure.

Loggia of the entrance.

COURYARD; THE EAST WING FACADE.

An opening is the loggia of David.

The court is exactly square.
Each of the east and the west facade has a entrance and dummy
openings. On the north and the south facade have real openings.

THE COURT WAS PLANED TO BE FILLED WITH A

LABYRINTH.

BUT, ONLY THREE LOGGIA CAN ACCESS TO THE COURT

AND THERE ARE NO WAY TO GO TO ONE OF THE
LOGGIA WITHOUT THROUGH SOME ROOMS.

All of the rusticated

walls are practically not
stonework but stucco.

The composition of the

facade is the
superimposition of the
ground floor and the
upper floor of the
common palace type in
Late Renaissance
Period.

THE COURTYARD, DETAIL OF THE

EAST WING FACADE.

Details from Palazzo de Te

HANGING TRIGLYPHS

SLIPPING KEYSTONES

Doric triglyphs appear to

have sliped down into
the zone below the
entablature.

THE KEYSTONE ON THE NICHE IS RAISED

UP, THEREFORE THE JOINT OF THE
RAKING CORNICE IS OPENED.

North wing, "the

Room of Horse"

The main entrance of the Palazzo del Te called

"Loggia of the Muse" leads the "Room of the
House" which is a reception room and the
bigining of the story of the Palazzo del Te.
Horses is painted on the four side of the biggest
room in the palazzo.

Next to "the Room of

Horse" is a banquet
room, the "Room of
Psyche", where the
paintings of feast and
erotic scene are on the
wall and ceiling.

THE FLOOR PATTERN

DESIGNINGS MIRROR
THAT OF THE CEILING.

The "Room of Psyche"

The Room of Giants is the

last room from the Loggia
of David through the Room
of Stucco and the Room of
Emperor.

The paintings are covered

all over the wall and the
ceiling.

EAST WING, "THE ROOM OF GIANTS"

bibliography

RENAISSANCE ARCHITECTURE, ALEXANDER MARKSCHIES.

THE WORLD ARCHITECTURE, by francis d k ching.

THE RENAISSANCE.

web.kyoto-inet.or.jp/org/orion/eng/hst/manneris/te.html

en.wikipedia.org/wiki/Mannerism

www.artcyclopedia.com/history/mannerism.html