|
Counter-Maniera
Counter-''Maniera'' or Counter-Mannerism (variously capitalized and part-italicized) is a term in art history for a trend identified by some art historians in 16th-century Italian painting that forms a sub-category or phase of Mannerism, the dominant movement in Italian art between about 1530 and 1590. Counter-''Maniera'' or Counter-Mannerism reacted against the artificiality of the second generation of Mannerist painters in the second half of the 16th century. It was in part due to artists wishing to follow the The Reformation and art#Council of Trent, vague prescriptions for clarity and simplicity in art issued by the Council of Trent in its final session in 1563, and represented a rejection of the distortions and artificiality of high Mannerist style, and a partial return to the classicism and balance of High Renaissance art, with "clarity in formal order and legibility in content". The term was devised by the art historian Sydney Joseph Freedberg (1914–1997), and has gain ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Reformation And Art
The Protestant Reformation during the 16th century in Europe almost entirely rejected the existing tradition of Catholic art, and very often destroyed as much of it as it could reach. A new artistic tradition developed, producing far smaller quantities of art that followed Protestant agendas and diverged drastically from the southern European tradition and the Renaissance humanist, humanist art produced during the High Renaissance. The Lutheran churches, as they developed, accepted a limited role for larger works of art in churches, and also encouraged prints and book illustrations. Calvinists remained steadfastly opposed to art in churches, and suspicious of small printed images of religious subjects, though generally fully accepting secular images in their homes. In turn, the Catholic Counter-Reformation both reacted against and responded to Protestant criticisms of art in Roman Catholicism to produce a more stringent style of Catholic art. Protestant religious art both embr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Raffaello Borghini
Raffaello Borghini (1537 – 26 December 1588) was a Florentine poet, playwright and art critic. His art treatise ''Il Riposo'' (1584) is an important work of the Counter-Reformation and Counter-Maniera. Life Borghini was probably born in 1537 in Florence. He was named after his grandfather. His mother was Alessandra Buontempi. Although noble, the Borghini had fallen on hard times at the time of his birth. He was the great nephew of Vincenzo Borghini and the two have sometimes been conflated as authors. In his early years, Borghini was an opponent of the Medici. In 1572–1575, he worked in Provence under the patronage of the governor, , and Cardinal Georges d'Armagnac. In Provence, he may have earned a living by teaching dance. He returned to Florence and to his friends, including and Bernardo Vecchietti, in 1575. He returned to France in 1579–1580. He lived the rest of his life in Florence. His later years were more economically secure. He may have joined the Benedictine O ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Santi Di Tito
Santi di Tito (5 December 1536 – 25 July 1603) was one of the most influential and leading Italian painters of the proto-Baroque style – what is sometimes referred to as "Counter-Maniera" or Counter-Mannerism. Biography He was born in Sansepolcro. There is little documentation to support the alleged training under Bronzino or Baccio Bandinelli. From 1558 to 1564, he worked in Rome on frescoes in Palazzo Salviati and the Sala Grande of the Belvedere (''Homage of the People'') alongside Giovanni de' Vecchi and Niccolò Circignani. He acquired a classical trait, described as ''Raphaelesque'' by S. J. Freedberg. This style contrasted with the reigning ornate Roman painterliness of Federico and Taddeo Zuccari or their Florentine equivalents: Vasari, Alessandro Allori, and Bronzino. After returning to Florence in 1564, he joined the Accademia del Disegno. He contributed two conventionally Mannerist paintings for the Duke's study and laboratory, the Studiolo of Francesco ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Scipione Pulzone
Scipione Pulzone (1544 – February 1, 1598), also known as Il Gaetano, was a Neapolitan painter of the late Italian Renaissance. His work differs in several respects from the Mannerist style predominant at the time. He was active mainly in Rome, but also worked in Naples and Florence. It is thought that he studied under Jacopino del Conte in Rome. Best known for his portraits, Pulzone painted Pope Gregory XIII, Cardinal de' Medici and Francesco I de' Medici, Grand Duke of Tuscany, Eleanor de' Medici, and Marie de' Medici. He also painted an ''Assumption with the Apostles'' for San Silvestro al Quirinale; a ''Pietà'' for the Gesù; and a ''Crucifixion'' for Santa Maria in Vallicella. Pulzone's ''Mater Divinae Providentiae'', painted around 1580, inspired the Roman Catholic cult of devotion to Our Lady of Providence. Biography Born in Gaeta around 1550 and initially trained in the workshop of Jacopino del Conte, Pulzone was one of the most original pictorial interpreters ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mannerism
Mannerism is a style in European art that emerged in the later years of the Italian High Renaissance around 1520, spreading by about 1530 and lasting until about the end of the 16th century in Italy, when the Baroque style largely replaced it. Northern Mannerism continued into the early 17th century. Mannerism encompasses a variety of approaches influenced by, and reacting to, the harmonious ideals associated with artists such as Leonardo da Vinci, Raphael, Vasari, and early Michelangelo. Where High Renaissance art emphasizes proportion, balance, and ideal beauty, Mannerism exaggerates such qualities, often resulting in compositions that are asymmetrical or unnaturally elegant. Notable for its artificial (as opposed to naturalistic) qualities, this artistic style privileges compositional tension and instability rather than the balance and clarity of earlier Renaissance painting. Mannerism in literature and music is notable for its highly florid style and intellectual sophist ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vision Of St Thomas Aquinas (Santi Di Tito)
''The Vision of Saint Thomas Aquinas'', also known as the ''Mystical Vision'' or ''Ectasy of Saint Thomas Aquinas'', is an altarpiece painted by the Florentine artist Santi di Tito in 1593 for the church of San Marco in Florence, Italy. The painting was commissioned by Sebastiano Pandolfini del Turco for his family chapel in San Marco. The painting records a version of a miraculous event putatively experienced by Thomas Aquinas near the end of his life. In 1273, Thomas had been writing on the topic of the eucharist, and while in the chapel of Saint Nicholas at the Dominican convent of Naples, Thomas lingered before a crucifix. A witness, the sacristan Domenic of Caserta, putatively overheard the crucified Christ on the crucifix tell Thomas: "You have written well of me, Thomas. What reward would you have for your labor?" Thomas in turn responded, "Nothing but you, Lord." The painting converts the experience into a larger colloquy with various saints, with the crucifix becoming th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Style (visual Arts)
In the visual arts, style is a "...distinctive manner which permits the grouping of works into related categories" or "...any distinctive, and therefore recognizable, way in which an act is performed or an artifact made or ought to be performed and made". Style refers to the visual appearance of a work of art that relates to other works with similar aesthetic roots, by the same artist, or from the same period, training, location, "school", art movement or archaeological culture: "The notion of style has long been historian's principal mode of classifying works of art". Style can be divided into the general style of a period, country or cultural group, group of artists or art movement, and the individual style of the artist within that group style. Divisions within both types of styles are often made, such as between "early", "middle" or "late". In some artists, such as Picasso for example, these divisions may be marked and easy to see; in others, they are more subtle. Style ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Northern Mannerism
Northern Mannerism is the form of Mannerism found in the visual arts north of the Alps in the 16th and early 17th centuries. Styles largely derived from Italian Mannerism were found in the Netherlands and elsewhere from around the mid-century, especially Mannerist ornament in architecture; this article concentrates on those times and places where Northern Mannerism generated its most original and distinctive work. The three main centres of the style were in France, especially in the period 1530–1550, in Prague from 1576, and in the Netherlands from the 1580s—the first two phases very much led by royal patronage. In the last 15 years of the century, the style, by then becoming outdated in Italy, was widespread across northern Europe, spread in large part through prints. In painting, it tended to recede rapidly in the new century, under the new influence of Caravaggio and the early Baroque, but in architecture and the decorative arts, its influence was more sustained. Backgro ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
John Shearman
John Kinder Gowran Shearman (pronounced "Sherman"; 24 June 1931 – 11 August 2003) was an English art historian who also taught in America. He was a specialist in Italian Renaissance painting, described by his colleague James S. Ackerman as "the leading scholar of Italian Renaissance painting", who published several influential works, but whose expected major book on Quattrocento painting, for the Penguin/Yale History of Art series (commissioned in 1984, and still a gap in the series in 2019), never appeared.Independent However, what is widely acknowledged as his most influential book, on the concept of Mannerism, published in 1967, is still in print. Early life and education Born in 1931 to Charles E. G. Shearman, a British army brigadier, and Evelyn Shearman (née White) in Aldershot, Hampshire, John Shearman was educated in Surrey at St Edmund's School, Hindhead, and Felsted School in Essex. After completing his two year National Service in Germany, he took up a place at ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Raphael
Raffaello Sanzio da Urbino (; March 28 or April 6, 1483April 6, 1520), now generally known in English as Raphael ( , ), was an Italian painter and architect of the High Renaissance. List of paintings by Raphael, His work is admired for its clarity of form, ease of composition, and visual achievement of the Platonism in the Renaissance, Neoplatonic ideal of human grandeur. Together with Leonardo da Vinci and Michelangelo, he forms the traditional trinity of great masters of that period. His father Giovanni Santi was court painter to the ruler of the small but highly cultured city of Urbino. He died when Raphael was eleven, and Raphael seems to have played a role in managing the family workshop from this point. He probably trained in the workshop of Pietro Perugino, and was described as a fully trained "master" by 1500. He worked in or for several cities in north Italy until in 1508 he moved to Rome at the invitation of Pope Julius II, to work on the Apostolic Palace at Vatican ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Federigo Barocci
Federico Barocci (also written Barozzi) ( – 30 September 1612) was an Italian Renaissance painter and printmaker. His original name was Federico Fiori, and he was nicknamed Il Baroccio. His work was highly esteemed and influential, and foreshadows the Baroque of Rubens. He is generally considered the greatest and the most individual painter of his time in central Italy. Early life and training He was born at Urbino, Duchy of Urbino, and received his earliest apprenticeship with his father, Ambrogio Barocci, a sculptor of some local eminence. He was then apprenticed with the painter Battista Franco Veneziano in Urbino. He accompanied his uncle, Bartolommeo Genga to Pesaro, then in 1548 to Rome, where he was worked in the pre-eminent studio of the day, that of the Mannerist painters, Taddeo and Federico Zuccari. Mature work in Rome and Urbino After passing four years at Rome, he returned to his native city, where his first work of art was a ''St. Margaret'' executed for th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
