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# Mannerism/Art

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Mannerism's style emphasized the feeling of the painter, himself. It broke all the conventional rules of painting and laid a foundation upon which formalism? and expressionism? could stand. The advent of formalism? denoted the first time that art had taken itself as the subject?. Expressionism? merely emoted the artist's subjectivity?. This was not the movement of kings and aristocracy?; this belonged to the intellectuals?. Mannerism allowed the artist to be the harbinger? of his own truth (not the pope's). It was a reaction to the upheaval of the Renaissance and the Reformation?.

Pontormo?'s [Joseph in Egypt]? stood in garish colors and disunified time and space. Neither the clothing, nor the buildings - not even the colors - accurately represented the Bible story of Joseph?. It was wrong, but it stood out as an accurate representation of society's feelings.

Rosso? painted with too much action, his pictorial movement seemed out of control. He also introduced a new form of portraiture?, which concealed the character of his subjects. A drastic change from portraits, which had previously revealed who the subject was.

Bronzino? pushed the envelope, showing that which was condemned as attractive. He adored the paradox? when a single truth had disintegrated. Giorgione?'s Tempest? was just that, with no clue left as to what it meant or why it was even there. Art began to gain its own value.

Tintoretto?'s [Last Supper]? epitomized Mannerism by taking Jesus and the table out of the middle of the room. He showed all that was happening and even gave [Judas Iscariot]? a halo. In sickly, disorienting colors he painted a scene of confusion that somehow separated the angel?s from the real world. He had removed the world from God's reach. His [El Greco]? attempted to express the [religious tension]? with exaggerated Mannerism. This exaggeration would serve to cross over the Mannerist? line and be applied to Classicism.

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Last edited June 19, 2001 7:48 am (diff)
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