Mannerism Mannerism is aperiod of European art that

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 • • • Mannerism矫饰主义 Mannerism is aperiod of European art that emerged from

• • • Mannerism矫饰主义 Mannerism is aperiod of European art that emerged from the later years of the Italian. High Renaissance around 1520. It lasted until about 1580 in Italy, when a more. Baroque style began to replace it, but. Northern Mannerism continued into the early 17 th century throughout much of Europe. [1] Stylistically, Mannerism encompasses a variety of approaches influenced by, and reacting to, the harmonious ideals and restrainednaturalism associated with artists such as. Leonardo da Vinci, Raphael, and early. Michelangelo. Mannerism is notable for its intellectual sophistication as well as its artificial (as opposed to naturalistic) qualities. The definition of Mannerism, and the phases within it, continues to be the subject of debate among art historians. For example, some scholars have applied the label to certain early modern forms of literature (especially poetry) and music of the 16 th and 17 th centuries. The term is also used to refer to some Late. Gothic painters working in northern Europe from about 1500 to 1530, especially the. Antwerp Mannerists—a group unrelated to the Italian movement. Mannerism also has been applied by analogy to the. Silver Age of Latin. 风格主义,正确的译名应是手法主义,又有译为矫饰主义,有时也被过于简单化地称为形式主 义。是一种在 16世纪出现的艺术风格。1527年,神圣罗马帝国和神圣联盟(由教宗、法国和威 尼斯等组成)之间的战争导致罗马遭洗劫,结束了文艺复兴的全盛时期。而这场洗劫动摇了文 艺复兴运动基础的信心、人文主义和理性,甚至也分裂了信仰的部分,风格主义艺术便在此时 兴起。 16世纪晚期西欧美术史、建筑史、设计史的基本现象之一就是对此前文艺复兴盛期在和谐方面 日益趋于完善的秩序世界进行瓦解,这通常被称为「手法主义」(英语:Mannerism)。汉语 中还有「样式主义」、「风格主义」、「矫饰主义」等译法,但这后几个译名过于意译,易引 起误解,实际上是错误的译法。两种译名在汉语世界均颇常见。该术语自从被提出后就经历了 不断变化,它有时被认为是指盛期文艺复兴古典主义的一种衰落或反动,有时又指连接盛期文 艺复兴和17世纪巴洛克之间一个桥梁。至今「手法主义」在学术界仍未有一个被普遍认可的精 确定义,但用它笼统指大约在 1525-1600年之间偏离文艺复兴设计的和谐之美的一种倾向。从 设计艺术自身的角度来看,手法主义可能源于一些年轻艺术家采取别样的方式超越前人的尝试; 从社会原因看,则与当时的宗教改革与反宗教改革运动等社会大环境的变动引起人们心理状态 的变化相关。

 • • Antonio Allegri da Correggio (August 1489 – March 5, 1534), usually

• • Antonio Allegri da Correggio (August 1489 – March 5, 1534), usually known as. Correggio, was the foremost painter of the. Parma school of the. Italian Renaissance, who was responsible for some of the most vigorous and sensuous works of the 16 th century. In his use of dynamic composition, illusionistic perspective and dramatic foreshortening, Correggio prefigured the. Rococo art of the 18 th century. Antonio Allegri was born in. Correggio, Italy, a small town near. Reggio Emilia. His date of birth is uncertain (around 1489). His father was a merchant. Otherwise, little is known about Correggio's life or training. In the years 1503 -1505 he apprenticed to. Francesco Bianchi Ferrara of. Modena. Here he probably knew the classicism of artists like. Lorenzo Costa and. Francesco Francia, evidence of which can be found in his first works. After a trip to Mantua in 1506, he returned to Correggio, where he stayed until 1510. To this period is assigned the. Adoration of the Child with St. Elizabeth and John, which shows clear influences from Costa and. Mantegna. In 1514 he probably finished threetondos for the entrance of thechurch of Sant'Andrea in Mantua, and then returned to Correggio: here, as an independent and increasingly renowned artist, he signed a contract for the Madonna altarpiece in the local monastery of St. Francis (now in the. Dresden Gemäldegalerie). 科雷吉欧是意大利画家。大半生都在帕尔马﹝Parma﹞ 作,他的画风酝酿了巴洛克﹝Barpque﹞,而其优美 的风格又影响了十八世纪的法国。从他早期的作品看出他的画风受到曼帖那﹝Andrea Mantegna﹞和达文西 ﹝Leonardo da Vinci﹞的影响至深。他留下约有40幅画作,全部表现宗教及神话的题材。 1520年起,他在帕尔马﹝Parma﹞从事教堂的圆屋顶湿壁画 作,使用光和阴影及发光的增强色彩的技巧,而 令整个景象能超出圆顶。尤其是帕尔马大教堂圆屋顶上的巨大壁画《圣母升天图》﹝Assumption of The Virgin﹞,画中把正在升天的圣母置在圆顶的中心,周围一圈圈的圣徒与天使围绕着圣母向上缓缓升起。当我 们抬头观看的时候,飞升的感觉会越来越强烈,使我们的视点自然地移向天使身上,直到他消失在中心点为止。 画中人物大部分赤身露体,呈现出纯真的感情。 Jupiter and Io (c. 1531) typifies the unabashed eroticism, radiance, and cool, pearly colors associated with Correggio's best work

 • • Girolamo Francesco Maria Mazzola (11 January 1503 – 24 August 1540),

• • Girolamo Francesco Maria Mazzola (11 January 1503 – 24 August 1540), also known as. Francesco Mazzola or more commonly as. Parmigianino (a nickname meaning "the little one from Parma") or sometimes "Parmigiano", was an. Italian Mannerist painter andprintmaker active in. Florence, Rome, Bologna, and his native city of. Parma. His work is characterized by elongation of form and includes. Vision of Saint Jerome (1527) and the. Madonna with the Long Neck (1534). Parmigianino was also an early Italianetcher, a technique that was pioneered in Italy by. Marcantonio Raimondi, but which appealed to draughtsmen: though the techniques of printing the copper plates require special skills, the ease with which acid, when substituted for ink, can reproduce the spontaneity of an artist's hand attracted Parmigianino, a "master of elegant figure drawing". Parmigianino also designedchiaroscuro woodcuts, and although his output was small he had a considerable influence on Italianprintmaking. Some of his prints were done in collaboration with. Giovanni Jacopo Caraglio. 巴米加尼诺是意大利画家,初期矫饰主义画家中,画风最纤细且优美者之一。他的风格主要是受到 科雷吉欧﹝Correggio﹞的影响,后来又受到拉斐尔﹝Raphael﹞的影响。他是一个很神经质的人, 瓦萨利﹝Vasari﹞描述:「他满脑子的炼金术……他从一个敏感、和蔼、娴雅的人,变成一个满脸胡 须、长发,没人理睬的野蛮人……他裸着身体葬在那里,如他生前所希望的,在墓里他的胸前放着 用杉枝组合的十字架。」 他的作品,无论是绘画或更具普及性的铜版画,对意大利或北欧有极大的影响。他的人物有修长的 颈项和手,这种趋向具有反宗教改革的意味,《长颈圣母》﹝Madonna with the Long Neck﹞即 为一例。他画肖像画时若对象正合其意,往往能深刻地表现出肖像的内在精神,尤其是他在维也纳 时所创作的早期作品《凸镜中的自画像》﹝Self-portrait in a Convex Mirror﹞,画中,他在一面 凸面镜中凝视变形的自己。 Bardi Altarpiece (1521).

Self-portrait in a Convex Mirror (c. 1524); Oil on wood, diameter 24. 4 cm;

Self-portrait in a Convex Mirror (c. 1524); Oil on wood, diameter 24. 4 cm; Kunsthistorisches Museum, Vienna

 • • • Jacopo Carucci (May 24, 1494 – January 2, 1557), usually

• • • Jacopo Carucci (May 24, 1494 – January 2, 1557), usually known as. Jacopo da Pontormo, Jacopo Pontormo or simply. Pontormo, was an. Italian Mannerist painter and portraitist from the. Florentine school. His work represents a profoundstylistic shift from the calmperspectival regularity that characterized the art of the Florentine. Renaissance. He is famous for his use of twining poses, coupled with ambiguous perspective; his figures often seem to float in an uncertain environment, unhampered by the forces of gravity. Pontormo shares some of the mannerism of. Rosso Fiorentino and of. Parmigianino. In some ways he anticipated the. Baroque as well as the tensions of. El Greco. His eccentricities also resulted in an original sense of composition. At best, his compositions are cohesive. The figures in the. Deposition, for example, appear to sustain each other: removal of any one of them would cause the edifice to collapse. In other works, as in the Joseph canvases, the crowding makes for a confusing pictorial melee. It is in the later drawings that we see a graceful fusion of bodies in a composition which includes the oval frame of Jesus in the. Last Judgement. 彭托莫是意大利一位虔诚的宗教画家。他曾前往佛罗伦萨学画,受到达文西 ﹝Leonardo da Vinci﹞、皮也洛﹝Piero di Cosimo﹞与阿伯提内利 ﹝Albertinelli﹞等人的影响。于1512年左右,他在沙托﹝Andrea del Sarto﹞的 门下 作遇到了罗索﹝Rosso﹞,二人成为朋友,并同为「矫饰主义」 ﹝Mannerism﹞画派的创始者。1518年,在佛罗伦萨的圣米给勒的教区教堂,绘 制《圣母像》﹝Madonna﹞,这是矫饰主义最早的作品之一。 Portrait of a Halberdier, 1528 -1530; Oil on canvas, 92 x 72 cm; J. Paul Getty Museum, Los Angeles

Visitation, 1514 -16; Fresco; 392 x 337 cm; SS. Annunziata, Florence

Visitation, 1514 -16; Fresco; 392 x 337 cm; SS. Annunziata, Florence

Artist: Jacopo Pontormo Completion Date: 1526 Place of Creation: Italy Style: Mannerism (Late Renaissance)

Artist: Jacopo Pontormo Completion Date: 1526 Place of Creation: Italy Style: Mannerism (Late Renaissance) Genre: religious painting Gallery: Santa Felicita, Cappella Capponi, Florence, Italy

 • • • Agnolo di Cosimo (November 17, 1503 – November 23, 1572),

• • • Agnolo di Cosimo (November 17, 1503 – November 23, 1572), usually known as. Il Bronzino, or. Agnolo Bronzino (mistaken attempts also have been made in the past to assert his name was. Agnolo Tori and even. Angelo (Agnolo) Allori), was an. Italian Mannerist painter from Florence. His sobriquet, Bronzino, in all probability refers to his relatively dark skin. Bronzino's work tends to include sophisticated references to earlier painters, as in one of his last grand frescoes called. The Martyrdom of St. Lawrence (San Lorenzo, 1569), in which almost every one of the extraordinarily contorted poses can be traced back to. Raphael or to. Michelangelo, who Bronzino idolized (cf. Brock). Bronzino's skill with thenude was even more enigmatically deployed in the celebrated. Venus, Cupid, Folly and Time, which conveys strong feelings oferoticism under the pretext of a moralizingallegory. His other major works include the design of a series oftapestries on. The Story of Joseph, for the Palazzo Vecchio. Many of Bronzino's works are still in Florence but other examples can be found in the. National Gallery, London, and elsewhere. 布隆津诺是佛罗伦萨画家,彭托莫﹝Pontormo﹞的弟子,亦受米开兰基罗 ﹝Michelangelo﹞影响。起先为多斯加尼大公,麦第奇家族的科西莫一世﹝Cosimo I de‘ Medici﹞的御用画师,是最重要的矫饰主义画家之一。 布隆津诺专注于表现超乎人性的典雅与拘谨,和他的老师彭托莫那种强烈的感性大异 其趣。他从米开兰基罗所学有限,大约只有前缩法﹝fore-shortening﹞的技巧。他 的宗教作品数量不多,大都极其精致,而不带一丝感情。其人物形象坚实有力,绘画 材料简洁、光润、具有一种神奇的纯洁,表现形式又坚定不拔。例如,作品《爱情的 寓意》﹝Allegory of Lust﹞虽然在冰冷中带有淫猥的意味,但是一种理想主义气味, 使画面构图充满象征意义,明显的性感表现并没有损害形象的辉煌和肉体的光辉。

Eleanor of Toledo (1544 -45), oil on wood, Uffizi Gallery, Florence Portrait of Lucrezia

Eleanor of Toledo (1544 -45), oil on wood, Uffizi Gallery, Florence Portrait of Lucrezia Panciatichi (circa 1540), Galleria degli Uffizi, Florence

Deposition of Christ (1540– 45), oil on panel, Museum of Fine Arts of. Besançon

Deposition of Christ (1540– 45), oil on panel, Museum of Fine Arts of. Besançon Portrait of Laura Battiferri (c. 1560), oil on canvas, Palazzo Vecchio, Florence

The Wedding at Cana, 1562– 1563. Louvre

The Wedding at Cana, 1562– 1563. Louvre

 • • • Paolo Veronese (1528 – 19 April 1588) was an Italian

• • • Paolo Veronese (1528 – 19 April 1588) was an Italian painter of the. Renaissance in. Venice, famous for paintings such as. The Wedding at Cana and. The Feast in the House of Levi. He adopted the name. Paolo Cagliari or. Paolo Caliari, and became known as "Veronese" from his birthplace in. Verona. Veronese, Titian, and. Tintoretto constitute the triumvirate of pre-eminent Venetian painters of the late Renaissance (16 th century). Veronese is known as a supreme colorist, and for his illusionistic decorations in both fresco and oil. His most famous works are elaborate narrative cycles, executed in a dramatic and colorful. Mannerist style, full of majestic architectural settings and glittering pageantry. His large paintings of biblical feasts executed for the refectories of monasteries in Venice and Verona are especially notable. His brief testimony with the Inquisition is often quoted for its insight into contemporary painting technique. 艺术大师提香﹝Titian﹞有两个伟大的弟子:丁托列托﹝Jacopo Robusti Tintoretto﹞和维诺内些,他们同时被誉为十六世纪意大利威尼斯画派三杰。    在提香过世之后,维诺内些便在师兄丁托列托的画室学艺。由于受到家乡维洛 那的传统绘画风格影响,维诺内些习惯用银灰色调。虽然他的历史与宗教题材 作品较之提香和丁托列托少了一分狂放的激情,但在女性丰盈玉润的刻画上却 多了些世俗的富贵与奢华,如《摩西的发现》﹝The Finding of Moses﹞。 这种流畅清新的绘画风格,尤其突出表现在欢宴、喜庆的享乐场面。在那个时 候,清欲的宗教理念深入了大多数人的心灵,资产阶级式的享乐主义风尚不甚 流行。画家们不敢直接面对世俗生活中的享乐场面,只能代之以宗教、神话中 的某些相关题材。 维诺内些的代表作《利瓦伊家的盛宴》﹝Feast in the House of Levi﹞是以《 圣经》中,耶酥揭穿犹大伪善面目的「最后的晚餐」为题材。在这个题材上任 何画家都会用严谨的笔触,悲愤的基调作画,但是维诺内些却饰以大量世俗享 乐化的形象。

 • • Tintoretto (Italian pronunciation: [tintoˈretːo]) (September 29, 1518 – May 31, 1594),

• • Tintoretto (Italian pronunciation: [tintoˈretːo]) (September 29, 1518 – May 31, 1594), real name. Jacopo Comin, was a Venetian painter and a notable exponent of the. Renaissance school. For his phenomenal energy in painting he was termed. Il Furioso. His work is characterized by its muscular figures, dramatic gestures and bold use of perspective in the. Mannerist style, while maintaining color and light typical of the Venetian School. In his youth, Tintoretto was also known as. Jacopo Robusti as his father had defended the gates of. Padua in a rather robust way against the imperial troops during the. War of the League of Cambrai (1509– 1516). His real name "Comin" has only recently been discovered by Miguel Falomir, the curator of the. Museo del Prado, Madrid, and was made public on the occasion of the retrospective of Tintoretto at the Prado in 2007. Comin translates to the spicecumin in the local language. 丁托列多的作品中混合了古典主义的高雅及反古典主义的作风,他所追求的是要向 米开朗基罗学习线条,向提香学习色彩,但是他的作品显然比这两位大师要来得夸 张而特别。丁托列多在正式创作之前,常以蜡人模拟习作,并寻找最富动态的构图、 最剧烈的视点及最强烈的采光效果,结果使他的作品常呈现出特异的空间,观者需 从非传统的角度来欣赏画面,有时甚且会感到头晕目眩,再加上丁托列多善于以笔 触表达感情,令其作品呈现了不安的质素。 其代表作《最后的晚餐》中即以特别安排的透视方式进行构图,使得观者需沿着空 间急骤缩小的对角方向由左下而右上欣赏画面。同时,丁托列多将主角基督置于画 面的中央﹝头后有光圈者﹞,消失点则置于画面的左上方,当观众的视线在中心点 及消失点之间来回移动时,便感受到不安而强烈的动态。

 • • • El Greco (1541 – 7 April 1614) was a painter,

• • • El Greco (1541 – 7 April 1614) was a painter, sculptor andarchitect of the. Spanish Renaissance. "El Greco" (The Greek) was a nickname, a reference to his ethnic. Greek origin, and the artist normally signed his paintings with his full birth name in. Greek letters, Δομήνικος Θεοτοκόπουλος (Doménikos Theotokópoulos), often adding the word Κρής (Krēs, "Cretan"). El Greco was born on. Crete, which was at that time part of the. Republic of Venice, and the centre of. Post. Byzantine art. He trained and became a master within that tradition before travelling at age 26 to. Venice, as other Greek artists had done. In 1570 he moved to Rome, where he opened a workshop and executed a series of works. During his stay in Italy, El Greco enriched his style with elements of. Mannerism and of the. Venetian Renaissance. In 1577, he moved to. Toledo, Spain, where he lived and worked until his death. In Toledo, El Greco received several major commissions and produced his bestknown paintings. El Greco's dramatic and expressionistic style was met with puzzlement by his contemporaries but found appreciation in the 20 th century. El Greco is regarded as a precursor of both. Expressionism and. Cubism, while his personality and works were a source of inspiration for poets and writers such as. Rainer Maria Rilke and. Nikos Kazantzakis. El Greco has been characterized by modern scholars as an artist so individual that he belongs to no conventional school. He is best known for tortuously elongated figures and often fantastic or phantasmagoricalpigmentation, marrying. Byzantine traditions with those of. Western painting. 葛雷柯被誉为是西班牙最伟大的画家之一,从他的作品,可看出其广受多家影响的渊源,如:提 香﹝Titian﹞、米开朗基罗﹝Michelangelo﹞、巴沙诺﹝Bassano﹞、拉婓尔﹝Raphael﹞、杜 勒﹝Durer﹞、以及彭托莫﹝Pontormo﹞、巴米加尼诺﹝Parmigianino﹞等意大利中部矫饰主 义画家。 葛雷柯揉合各家之长形成自己极端个人化的矫饰主义风格,他用色阴沈而尖锐,常用蓝色、黄色、 鲜绿和生动的粉紫色作强烈对比,画中人物肢体刻意拉长,呈现神经质似的紧张感,使其作品具 有高度的个人色彩。