mirollo arcimboldo wtewael maniera allori wundram briganti disegno bronzino freedberg pontormo concors lomazzo mannerist friedländer castagno cellini agnolo pittura mantova mannerism mannerists benvenuto arlecchino saltz giambologna discordia grossmann shearman dell'arte
mannerism was a school of art that represented the following style
Mannerism - wikipedia Mannerism Jump to : navigation , search In Parmigianino 's Madonna with the Long Neck ( 1534 -- 40 ) , Mannerism makes itself known by elongated proportions , highly stylized poses , and lack of clear perspective . Mannerism , also known as Late Renaissance , is a style in European art that emerged in the later years of the Italian High Renaissance around 1520 and lasted until about end of the 16th century in Italy , when the Baroque style began to replace it . Northern Mannerism continued into the early 17th century . Stylistically , Mannerism encompasses a variety of approaches influenced by , and reacting to , the harmonious ideals associated with artists such as Leonardo da Vinci , Raphael , 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 . The style is notable for its intellectual sophistication as well as its artificial ( as opposed to naturalistic ) qualities . It favors 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 sophistication . The definition of Mannerism and the phases within it continue to be a 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 16th and 17th 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 literature . Contents ( hide ) 1 Nomenclature 2 Origin and development 2.1 Origins and role models 2.1. 1 The competitive spirit 2.2 Early mannerism 2.3 High maniera 3 Spread of mannerism 4 Sculpture 5 Early theorists 5.1 Giorgio Vasari 5.2 Gian Paolo Lomazzo 6 Some Mannerist artists 6.1 Jacopo da Pontormo 6.2 Rosso Fiorentino and the School of Fontainebleau 6.3 Agnolo Bronzino 6.4 Alessandro Allori 6.5 Tintoretto 6.6 El Greco 6.7 Benvenuto Cellini 6.8 Joachim Wtewael 6.9 Giuseppe Arcimboldo 7 Mannerist architecture 7.1 Renaissance examples 8 Mannerism in literature and music 8.1 Mannerism and theatre 8.1. 1 Commedia dell'arte , disegno interno , and the discordia concors 8.2 Neo-Mannerism 9 See also 10 Notes 11 References 12 Further reading 13 External links Nomenclature ( edit ) Mannerism role - model : Laocoön and His Sons , an ancient sculpture , rediscovered in 1506 ; now in the Vatican . The artists of Mannerism greatly admired this piece of sculpture . The word mannerism derives from the Italian maniera , meaning `` style '' or `` manner '' . Like the English word `` style '' , maniera can either indicate a specific type of style ( a beautiful style , an abrasive style ) or indicate an absolute that needs no qualification ( someone `` has style '' ) . In the second edition of his Lives of the Most Excellent Painters , Sculptors , and Architects ( 1568 ) , Giorgio Vasari used maniera in three different contexts : to discuss an artist 's manner or method of working ; to describe a personal or group style , such as the term maniera greca to refer to the Byzantine style or simply to the maniera of Michelangelo ; and to affirm a positive judgment of artistic quality . Vasari was also a Mannerist artist , and he described the period in which he worked as `` la maniera moderna '' , or the `` modern style '' . James V. Mirollo describes how `` bella maniera '' poets attempted to surpass in virtuosity the sonnets of Petrarch . This notion of `` bella maniera '' suggests that artists who were thus inspired looked to copying and bettering their predecessors , rather than confronting nature directly . In essence , `` bella maniera '' utilized the best from a number of source materials , synthesizing it into something new . As a stylistic label , `` Mannerism '' is not easily defined . It was used by Swiss historian Jacob Burckhardt and popularized by German art historians in the early 20th century to categorize the seemingly uncategorizable art of the Italian 16th century -- art that was no longer found to exhibit the harmonious and rational approaches associated with the High Renaissance . `` High Renaissance '' connoted a period distinguished by harmony , grandeur and the revival of classical antiquity . The term Mannerist was redefined in 1967 by John Shearman following the exhibition of Mannerist paintings organised by Fritz Grossmann at Manchester City Art Gallery in 1965 . The label `` Mannerism '' was used during the 16th century to comment on social behaviour and to convey a refined virtuoso quality or to signify a certain technique . However , for later writers , such as the 17th - century Gian Pietro Bellori , `` la maniera '' was a derogatory term for the perceived decline of art after Raphael , especially in the 1530s and 1540s . From the late 19th century on , art historians have commonly used the term to describe art that follows Renaissance classicism and precedes the Baroque . Yet historians differ as to whether Mannerism is a style , a movement , or a period ; and while the term remains controversial it is still commonly used to identify European art and culture of the 16th century . Origin and development ( edit ) Collected figures , ignudi , from Michelangelo 's Sistine Chapel ceiling By the end of the High Renaissance , young artists experienced a crisis : it seemed that everything that could be achieved was already achieved . No more difficulties , technical or otherwise , remained to be solved . The detailed knowledge of anatomy , light , physiognomy and the way in which humans register emotion in expression and gesture , the innovative use of the human form in figurative composition , the use of the subtle gradation of tone , all had reached near perfection . The young artists needed to find a new goal , and they sought new approaches . At this point Mannerism started to emerge . The new style developed between 1510 and 1520 either in Florence , or in Rome , or in both cities simultaneously . Origins and role models ( edit ) This period has been described as a `` natural extension '' of the art of Andrea del Sarto , Michelangelo , and Raphael . Michelangelo developed his own style at an early age , a deeply original one which was greatly admired at first , then often copied and imitated by other artists of the era . One of the qualities most admired by his contemporaries was his terribilità , a sense of awe - inspiring grandeur , and subsequent artists attempted to imitate it . Other artists learned Michelangelo 's impassioned and highly personal style by copying the works of the master , a standard way that students learned to paint and sculpt . His Sistine Chapel ceiling provided examples for them to follow , in particular his representation of collected figures often called ignudi and of the Libyan Sibyl , his vestibule to the Laurentian Library , the figures on his Medici tombs , and above all his Last Judgment . The later Michelangelo was one of the great role models of Mannerism . Young artists broke in to his house and stole drawings from him . In his book Lives of the Most Eminent Painters , Sculptors , and Architects , Giorgio Vasari noted that Michelangelo stated once : `` Those who are followers can never pass by whom they follow '' . The competitive spirit ( edit ) The competitive spirit was cultivated by patrons who encouraged sponsored artists to emphasize virtuosic technique and to compete with one another for commissions . It drove artists to look for new approaches and dramatically illuminated scenes , elaborate clothes and compositions , elongated proportions , highly stylized poses , and a lack of clear perspective . Leonardo da Vinci and Michelangelo were each given a commission by Gonfaloniere Piero Soderini to decorate a wall in the Hall of Five Hundred in Florence . These two artists were set to paint side by side and compete against each other , fueling the incentive to be as innovative as possible . Copy after lost original , Michelangelo 's Battaglia di Cascina , by Bastiano da Sangallo , originally intended by Michelangelo to compete with Da Vinci 's entry for the same commission Copy after lost original , Leonardo da Vinci 's Battaglia di Anghiari , by Rubens , originally intended by Da Vinci to compete with Michelangel 's entry for the same commission Early Mannerism ( edit ) Jacopo Pontormo , Entombment , 1528 ; Santa Felicità , Florence The early Mannerists in Florence -- especially the students of Andrea del Sarto such as Jacopo da Pontormo and Rosso Fiorentino who are notable for elongated forms , precariously balanced poses , a collapsed perspective , irrational settings , and theatrical lighting . Parmigianino ( a student of Correggio ) and Giulio Romano ( Raphael 's head assistant ) were moving in similarly stylized aesthetic directions in Rome . These artists had matured under the influence of the High Renaissance , and their style has been characterized as a reaction to or exaggerated extension of it . Instead of studying nature directly , younger artists began studying Hellenistic sculpture and paintings of masters past . Therefore , this style is often identified as `` anti-classical '' , yet at the time it was considered a natural progression from the High Renaissance . The earliest experimental phase of Mannerism , known for its `` anti-classical '' forms , lasted until about 1540 or 1550 . Marcia B. Hall , professor of art history at Temple University , notes in her book After Raphael that Raphael 's premature death marked the beginning of Mannerism in Rome . In past analyses , it has been noted that mannerism arose in the early 16th century contemporaneously with a number of other social , scientific , religious and political movements such as the Copernican model , the Sack of Rome , and the Protestant Reformation 's increasing challenge to the power of the Catholic Church . Because of this , the style 's elongated forms and distorted forms were once interpreted as a reaction to the idealized compositions prevalent in High Renaissance art . This explanation for the radical stylistic shift c. 1520 has fallen out of scholarly favor , though early Mannerist art is still sharply contrasted with High Renaissance conventions ; the accessibility and balance achieved by Raphael 's School of Athens no longer seemed to interest young artists . High maniera ( edit ) The second period of Mannerism is commonly differentiated from the earlier , so - called `` anti-classical '' phase . Subsequent mannerists stressed intellectual conceits and artistic virtuosity , features that have led later critics to accuse them of working in an unnatural and affected `` manner '' ( maniera ) . Maniera artists looked to their older contemporary Michelangelo as their principal model ; theirs was an art imitating art , rather than an art imitating nature . Art historian Sydney Joseph Freedberg argues that the intellectualizing aspect of maniera art involves expecting its audience to notice and appreciate this visual reference -- a familiar figure in an unfamiliar setting enclosed between `` unseen , but felt , quotation marks '' . The height of artifice is the Maniera painter 's penchant for deliberately misappropriating a quotation . Agnolo Bronzino and Giorgio Vasari exemplify this strain of Maniera that lasted from about 1530 to 1580 . Based largely at courts and in intellectual circles around Europe , Maniera art couples exaggerated elegance with exquisite attention to surface and detail : porcelain - skinned figures recline in an even , tempered light , acknowledging the viewer with a cool glance , if they make eye contact at all . The Maniera subject rarely displays much emotion , and for this reason works exemplifying this trend are often called ' cold ' or ' aloof . ' This is typical of the so - called `` stylish style '' or Maniera in its maturity . Spread of Mannerism ( edit ) English Mannerism : Henry Howard , Earl of Surrey , 1546 , a rare English Mannerist portrait by a Flemish immigrant The cities Rome , Florence , and Mantua were Mannerist centers in Italy . Venetian painting pursued a different course , represented by Titian in his long career . A number of the earliest Mannerist artists who had been working in Rome during the 1520s fled the city after the Sack of Rome in 1527 . As they spread out across the continent in search of employment , their style was disseminated throughout Italy and Northern Europe . The result was the first international artistic style since the Gothic . Other parts of Northern Europe did not have the advantage of such direct contact with Italian artists , but the Mannerist style made its presence felt through prints and illustrated books . European rulers , among others , purchased Italian works , while northern European artists continued to travel to Italy , helping to spread the Mannerist style . Individual Italian artists working in the North gave birth to a movement known as the Northern Mannerism . Francis I of France , for example , was presented with Bronzino 's Venus , Cupid , Folly and Time . The style waned in Italy after 1580 , as a new generation of artists , including the Carracci brothers , Caravaggio and Cigoli , revived naturalism . Walter Friedlaender identified this period as `` anti-mannerism '' , just as the early mannerists were `` anti-classical '' in their reaction away from the aesthetic values of the High Renaissance . Outside of Italy , however , Mannerism continued into the 17th century . In France , where Rosso traveled to work for the court at Fontainebleau , it is known as the `` Henry II style '' and had a particular impact on architecture . Other important continental centers of Northern Mannerism include the court of Rudolf II in Prague , as well as Haarlem and Antwerp . Mannerism as a stylistic category is less frequently applied to English visual and decorative arts , where native labels such as `` Elizabethan '' and `` Jacobean '' are more commonly applied . Seventeenth - century Artisan Mannerism is one exception , applied to architecture that relies on pattern books rather than on existing precedents in Continental Europe . Of particular note is the Flemish influence at Fontainebleau that combined the eroticism of the French style with an early version of the vanitas tradition that would dominate seventeenth - century Dutch and Flemish painting . Prevalent at this time was the `` pittore vago , '' a description of painters from the north who entered the workshops in France and Italy to create a truly international style . Sculpture ( edit ) As in painting , early Italian Mannerist sculpture was very largely an attempt to find an original style that would top the achievement of the High Renaissance , which in sculpture essentially meant Michelangelo , and much of the struggle to achieve this was played out in commissions to fill other places in the Piazza della Signoria in Florence , next to Michelangelo 's David . Baccio Bandinelli took over the project of Hercules and Cacus from the master himself , but it was little more popular then than it is now , and maliciously compared by Benvenuto Cellini to `` a sack of melons '' , though it had a long - lasting effect in apparently introducing relief panels on the pedestal of statues . Like other works of his and other Mannerists it removes far more of the original block than Michelangelo would have done . Cellini 's bronze Perseus with the head of Medusa is certainly a masterpiece , designed with eight angles of view , another Mannerist characteristic , and artificially stylized in comparison with the Davids of Michelangelo and Donatello . Originally a goldsmith , his famous gold and enamel Salt Cellar ( 1543 ) was his first sculpture , and shows his talent at its best . Small bronze figures for collector 's cabinets , often mythological subjects with nudes , were a popular Renaissance form at which Giambologna , originally Flemish but based in Florence , excelled in the later part of the century . He also created life - size sculptures , of which two entered the collection in the Piazza della Signoria . He and his followers devised elegant elongated examples of the figura serpentinata , often of two intertwined figures , that were interesting from all angles . Stucco overdoor at Fontainebleau , probably designed by Primaticcio , who painted the oval inset , 1530s or 1540s Benvenuto Cellini , Perseus with the head of Medusa , 1545 -- 1554 Giambologna , Samson Slaying a Philistine , about 1562 Giambologna , Rape of the Sabine Women , 1583 , Florence , Italy , 13 ' 6 '' high , marble Adriaen de Vries , Mercury and Psyche Northern Mannerist life - size bronze , made in 1593 for Rudolf II , Holy Roman Emperor . Venus , c. 125 ; Marble , Roman ; British Museum Early theorists ( edit ) Pietro Francavilla , Apollo Victorious over the Python , 1591 . The Walters Art Museum Giorgio Vasari ( edit ) Giorgio Vasari 's opinions about the art of painting emerge in the praise he bestows on fellow artists in his multi-volume Lives of the Artists : he believed that excellence in painting demanded refinement , richness of invention ( invenzione ) , expressed through virtuoso technique ( maniera ) , and wit and study that appeared in the finished work , all criteria that emphasized the artist 's intellect and the patron 's sensibility . The artist was now no longer just a trained member of a local Guild of St Luke . Now he took his place at court alongside scholars , poets , and humanists , in a climate that fostered an appreciation for elegance and complexity . The coat - of - arms of Vasari 's Medici patrons appears at the top of his portrait , quite as if it were the artist 's own . The framing of the woodcut image of Vasari 's Lives of the Artists would be called `` Jacobean '' in an English - speaking milieu . In it , Michelangelo 's Medici tombs inspire the anti-architectural `` architectural '' features at the top , the papery pierced frame , the satyr nudes at the base . As a mere frame it is extravagant : Mannerist , in short . Gian Paolo Lomazzo ( edit ) Another literary figure from the period is Gian Paolo Lomazzo , who produced two works -- one practical and one metaphysical -- that helped define the Mannerist artist 's self - conscious relation to his art . His Trattato dell'arte della pittura , scoltura et architettura ( Milan , 1584 ) is in part a guide to contemporary concepts of decorum , which the Renaissance inherited in part from Antiquity but Mannerism elaborated upon . Lomazzo 's systematic codification of aesthetics , which typifies the more formalized and academic approaches typical of the later 16th century , emphasized a consonance between the functions of interiors and the kinds of painted and sculpted decors that would be suitable . Iconography , often convoluted and abstruse , is a more prominent element in the Mannerist styles . His less practical and more metaphysical Idea del tempio della pittura ( The ideal temple of painting , Milan , 1590 ) offers a description along the lines of the `` four temperaments '' theory of human nature and personality , defining the role of individuality in judgment and artistic invention . Some Mannerist artists ( edit ) High Mannerism : Venus , Cupid , Folly and Time by Bronzino , c. 1545 ; National Gallery , London . Joachim Wtewael Perseus and Andromeda , 1616 , Louvre , the composition displaying a Vanité of bones and seashells in the foreground and an elaborate academic nude with a palette borrowing from the forefront for Andromeda 's cheeks . The Dragon seems of sino - oriental influence . Jacopo da Pontormo ( edit ) Jacopo da Pontormo 's Joseph in Egypt features what would in the Renaissance have been considered incongruous colors and an incoherent handling of time and space . Rosso Fiorentino and the school of Fontainebleau ( edit ) Rosso Fiorentino , who had been a fellow pupil of Pontormo in the studio of Andrea del Sarto , in 1530 brought Florentine mannerism to Fontainebleau , where he became one of the founders of French 16th - century Mannerism , popularly known as the `` School of Fontainebleau '' . The examples of a rich and hectic decorative style at Fontainebleau further disseminated the Italian style through the medium of engravings , to Antwerp and from there throughout Northern Europe from London to Poland . Mannerist design was extended to luxury goods like silver and carved furniture . A sense of tense , controlled emotion expressed in elaborate symbolism and allegory , and an ideal of female beauty characterized by elongated proportions are features of this style . Agnolo Bronzino ( edit ) Mannerist portraits by Agnolo Bronzino are distinguished by a serene elegance and meticulous attention to detail . As a result , Bronzino 's sitters have been said to project an aloofness and marked emotional distance from the viewer . There is also a virtuosic concentration on capturing the precise pattern and sheen of rich textiles . Alessandro Allori ( edit ) Alessandro Allori 's ( 1535 -- 1607 ) Susanna and the Elders ( below ) is distinguished by latent eroticism and consciously brilliant still life detail , in a crowded , contorted composition . Tintoretto ( edit ) Tintoretto 's Last Supper ( below ) focuses on light and motion , bringing the image to dramatic life . Unlike more traditional views of the Last Supper , Tintoretto depicts Heaven opening up into the room , and the angels looking on in awe , in line with the old Catholic maxim that `` If the angels were capable of envy , they would envy the Eucharist . '' El Greco ( edit ) El Greco attempted to express religious emotion with exaggerated traits . After the realistic depiction of the human form and the mastery of perspective achieved in high Renaissance Classicism , some artists started to deliberately distort proportions in disjointed , irrational space for emotional and artistic effect . El Greco still is a deeply original artist . El Greco has been characterized by modern scholars as an artist so individual that he belongs to no conventional school . Key aspects of Mannerism in El Greco include the jarring `` acid '' palette , elongated and tortured anatomy , irrational perspective and light , and obscure and troubling iconography . Benvenuto Cellini ( edit ) Benvenuto Cellini created the Cellini Salt Cellar of gold and enamel in 1540 featuring Poseidon and Amphitrite ( water and earth ) placed in uncomfortable positions and with elongated proportions . It is considered a masterpiece of Mannerist sculpture . Joachim Wtewael ( edit ) Joachim Wtewael ( 1566 -- 1638 ) continued to paint in a Northern Mannerist style until the end of his life , ignoring the arrival of the Baroque , and making him perhaps the last significant Mannerist artist still to be working . His subjects included large scenes with still life in the manner of Pieter Aertsen , and mythological scenes , many small cabinet paintings beautifully executed on copper , and most featuring nudity . Giuseppe Arcimboldo ( edit ) Giuseppe Arcimboldo ( also spelled Arcimboldi ) is known for his portraits contrived from a still life composition Jacopo Pontormo Joseph in Egypt , 1515 -- 18 ; Oil on wood ; 96 x 109 cm ; National Gallery , London Rosso Fiorentino , Francois I Gallery , Château de Fontainebleau , France Juno in a niche , engraving by Jacopo Caraglio , probably from a drawing of 1526 by Rosso Fiorentino Giuseppe Arcimboldo , The Librarian , 1562 , Skokloster Castle . Tintoretto , Last Supper Giuseppe Arcimboldo , Autumn , 1573 , oil on canvas , Louvre Museum , Paris Giuseppe Arcimboldo , Vertumnus the god of seasons , 1591 , Skokloster Castle Bronzino , Portrait of Bia de'Medici Alessandro Allori , Susanna and the elders El Greco , Baptism Mannerist architecture ( edit ) Mannerist architecture was characterized by visual trickery and unexpected elements that challenged the renaissance norms . Flemish artists , many of whom had traveled to Italy and were influenced by Mannerist developments there , were responsible for the spread of Mannerist trends into Europe north of the Alps , including into the realm of architecture . During the period , architects experimented with using architectural forms to emphasize solid and spatial relationships . The Renaissance ideal of harmony gave way to freer and more imaginative rhythms . The best known architect associated with the Mannerist style , and a pioneer at the Laurentian Library , was Michelangelo ( 1475 -- 1564 ) . He is credited with inventing the giant order , a large pilaster that stretches from the bottom to the top of a façade . He used this in his design for the Campidoglio in Rome . Prior to the 20th century , the term Mannerism had negative connotations , but it is now used to describe the historical period in more general non-judgmental terms . Mannerist architecture has also been used to describe a trend in the 1960s and 1970s that involved breaking the norms of modernist architecture while at the same time recognizing their existence . Defining mannerist in this context , architect and author Robert Venturi wrote `` Mannerism for architecture of our time that acknowledges conventional order rather than original expression but breaks the conventional order to accommodate complexity and contradiction and thereby engages ambiguity unambiguously . '' Renaissance examples ( edit ) An example of mannerist architecture is the Villa Farnese at Caprarola. in the rugged country side outside of Rome . The proliferation of engravers during the 16th century spread Mannerist styles more quickly than any previous styles . Dense with ornament of `` Roman '' detailing , the display doorway at Colditz Castle exemplifies this northern style , characteristically applied as an isolated `` set piece '' against unpretentious vernacular walling . From the late 1560s onwards , many buildings in Valletta , the new capital city of Malta , were designed by the architect Girolamo Cassar in the Mannerist style . Such buildings include St. John 's Co-Cathedral , the Grandmaster 's Palace and the seven original auberges . Many of Cassar 's buildings were modified over the years , especially in the Baroque period . However , a few buildings , such as Auberge d'Aragon and the exterior of St. John 's Co-Cathedral , still retain most of Cassar 's original Mannerist design . One of the best examples of Mannerist architecture - Palazzo Te in Mantova , designed by Giulio Romano Giulio Romano , Pallazo Ducale in Mantova Own house of Giulio Romano in Mantova Baldassare Peruzzi , Palazzo Massimo alle Colonne in Rome Michelangelo , vestibule of Laurentian Library St. John 's Co-Cathedral in Valletta , Malta Town Hall in Zamość , Poland , designed by Bernardo Morando . Mannerist architecture in Gdańsk , Poland . Mannerism in literature and music ( edit ) See also : Metaphysical poets In English literature , Mannerism is commonly identified with the qualities of the `` Metaphysical '' poets of whom the most famous is John Donne . The witty sally of a Baroque writer , John Dryden , against the verse of Donne in the previous generation , affords a concise contrast between Baroque and Mannerist aims in the arts : He affects the metaphysics , not only in his satires but in his amorous verses , where nature only should reign ; and perplexes the minds of the fair sex with nice speculations of philosophy when he should engage their hearts and entertain them with the softnesses of love . ( italics added ) The rich musical possibilities in the poetry of the late 16th and early 17th centuries provided an attractive basis for the madrigal , which quickly rose to prominence as the pre-eminent musical form in Italian musical culture , as discussed by Tim Carter : The madrigal , particularly in its aristocratic guise , was obviously a vehicle for the ' stylish style ' of Mannerism , with poets and musicians revelling in witty conceits and other visual , verbal and musical tricks to delight the connoisseur . The word Mannerism has also been used to describe the style of highly florid and contrapuntally complex polyphonic music made in France in the late 14th century . This period is now usually referred to as the ars subtilior . Mannerism and theatre ( edit ) The Early Commedia dell'Arte ( 1550 -- 1621 ) : The Mannerist Context by Paul Castagno discusses Mannerism 's effect on the contemporary professional theatre . Castagno 's was the first study to define a theatrical form as Mannerist , employing the vocabulary of Mannerism and maniera to discuss the typification , exaggerated , and effetto meraviglioso of the comici dell'arte . See Part II of the above book for a full discussion of Mannerist characteristics in the commedia dell'arte . The study is largely iconographic , presenting a pictorial evidence that many of the artists who painted or printed commedia images were in fact , coming from the workshops of the day , heavily ensconced in the maniera tradition . The preciosity in Jacques Callot 's minute engravings seem to belie a much larger scale of action . Callot 's Balli di Sfessania ( literally , dance of the buttocks ) celebrates the commedia 's blatant eroticism , with protruding phalli , spears posed with the anticipation of a comic ream , and grossly exaggerated masks that mix the bestial with human . The eroticism of the innamorate ( lovers ) including the baring of breasts , or excessive veiling , was quite in vogue in the paintings and engravings from the second school at Fontainebleau , particularly those that detect a Franco - Flemish influence . Castagno demonstrates iconographic linkages between genre painting and the figures of the commedia dell'arte that demonstrate how this theatrical form was embedded within the cultural traditions of the late cinquecento . Commedia dell'arte , disegno interno , and the discordia concors ( edit ) Important corollaries exist between the disegno interno , which substituted for the disegno esterno ( external design ) in mannerist painting . This notion of projecting a deeply subjective view as superseding nature or established principles ( perspective , for example ) , in essence , the emphasis away from the object to its subject , now emphasizing execution , displays of virtuosity , or unique techniques . This inner vision is at the heart of commedia performance . For example , in the moment of improvisation the actor expresses his virtuosity without heed to formal boundaries , decorum , unity , or text . Arlecchino became emblematic of the mannerist discordia concors ( the union of opposites ) , at one moment he would be gentle and kind , then , on a dime , become a thief violently acting out with his batte . Arlecchino could be graceful in movement , only in the next beat , to clumsily trip over his feet . Freed from the external rules , the actor celebrated the evanescence of the moment ; much the way Cellini would dazzle his patrons by draping his sculptures , unveiling them with lighting effects and a sense of the marvelous . The presentation of the object became as important as the object itself . Neo-Mannerism ( edit ) According to art critic Jerry Saltz , `` Neo-Mannerism '' ( new Mannerism ) is among several clichés that are `` squeezing the life out of the art world '' . Neo-Mannerism describes art of the 21st century that is turned out by students whose academic teachers `` have scared ( them ) into being pleasingly meek , imitative , and ordinary '' . See also ( edit ) Visual arts portal Counter-Mannerism Mannerist architecture and sculpture in Poland Timeline of Italian artists to 1800 Notes ( edit ) Jump up ^ A World history of architecture and Mannerism : the painting and style of the Late Renaissance Jump up ^ Freedberg 1971 , 483 . ^ Jump up to : Gombrich 1995 , . Jump up ^ `` Mannerism : Bronzino ( 1503 -- 1572 ) and his Contemporaries '' . Metropolitan Museum of Art . Retrieved 2013 - 05 - 19 . ^ Jump up to : Art and Illusion , E.H. Gombrich , ISBN 9780691070001 Jump up ^ `` the - mannerist - style '' . www.artsconnected.org . Jump up ^ John Shearman , `` Maniera as an Aesthetic Ideal '' , in Cheney 2004 , 37 . Jump up ^ Cheney 1997 , 17 . Jump up ^ Briganti 1961 , 6 . ^ Jump up to : Mirollo 1984 , Jump up ^ Shearman 1967 . Jump up ^ Grossmann 1965 . Jump up ^ Smyth 1962 , 1 -- 2 . Jump up ^ Cheney , `` Preface '' , xxv -- xxxii , and Manfred Wundram , `` Mannerism , '' Grove Art Online . Oxford University Press , ( accessed 23 April 2008 ) . Jump up ^ Friedländer 1965 , ^ Jump up to : Freedberg 1993 , 175 -- 77 . ^ Jump up to : Giorgio Vasari , Lives of the Most Eminent Painters , Sculptors , and Architects Jump up ^ Friedländer 1965 , . Jump up ^ Manfred Wundram , `` Mannerism , '' Grove Art Online . Oxford University Press , ( accessed 23 April 2008 ) . Jump up ^ Freedberg 1965 . Jump up ^ Shearman 1967 , p. 19 Jump up ^ Briganti 1961 , 32 -- 33 Jump up ^ Briganti 1961 , 13 . Jump up ^ Friedländer 1957 , . Jump up ^ Summerson 1983 , 157 -- 72 . Jump up ^ Olson , 179 -- 182 Jump up ^ Olson , 183 -- 187 Jump up ^ Olson , 182 -- 183 Jump up ^ Olson , 194 -- 202 Jump up ^ `` National Gallery of Art -- El Greco '' . Nga.gov . Retrieved 2013 - 05 - 19 . Jump up ^ `` Metropolitan Museum of Art El Greco ( Domenikos Theotokopoulos ) ( 1541 -- 1614 ) '' . Metmuseum.org . Retrieved 2013 - 05 - 19 . Jump up ^ `` Style Guide : Mannerism '' . Victoria and Albert . Retrieved 11 January 2015 . Jump up ^ Wundram , Manfred ( 1996 ) . Dictionary of Art . Grove . p. 281 . Jump up ^ https://books.google.ca/books?id=vSfOCwAAQBAJ&pg=PT2&dq=michelangelo+pioneered+mannerist+style&hl=en&sa=X&redir_esc=y#v=onepage&q=michelangelo%20pioneered%20mannerist%20style&f=false , p = Foreward Jump up ^ Mark Jarzombek , `` Pilaster Play '' ( PDF ) , Thresholds , 28 ( Winter 2005 ) : 34 -- 41 Jump up ^ Arnold Hauser . Mannerism : The Crisis of the Renaissance and the Origins of Modern Art . ( Cambridge : Harvard University Press , 1965 ) . ^ Jump up to : Venturi , Robert . `` Architecture as Signs and Systems '' ( PDF ) . Retrieved 11 January 2015 . Jump up ^ Coffin David , The Villa in the Life of Renaissance Rome , Princeton University Press , 1979 : 281 -- 85 Jump up ^ Ellul , Michael ( 2004 ) . `` In search of Girolamo Cassar : An unpublished manuscript at the State Archives of Lucca '' ( PDF ) . Melita Historica . XIV ( 1 ) : 37 . ISSN 1021 - 6952 . Archived from the original ( PDF ) on 13 March 2016 . Jump up ^ ' Nice ' in the sense of ' finely reasoned . ' Jump up ^ Gardner , Helen ( 1957 ) . Metaphysical Poets . Oxford University Press , London . Retrieved 2014 - 08 - 15 . Jump up ^ Carter 1991 , 128 . Jump up ^ Apel 1946 -- 47 , 20 . Jump up ^ Castagno 1992 , . Jump up ^ Castagno 1994 , . ^ Jump up to : Saltz , Jerry ( 10 October 2013 ) . `` Jerry Saltz on Art 's Insidious New Cliché : Neo-Mannerism '' . Vulture . Retrieved 2014 - 08 - 16 . References ( edit ) Apel , Willi. 1946 -- 47 . `` The French Secular Music of the Late Fourteenth Century '' . Acta Musicologica 18 : 17 -- 29 . Briganti , Giuliano. 1962 . Italian Mannerism , translated from the Italian by Margaret Kunzle . London : Thames and Hudson ; Princeton : Van Nostrand ; Leipzig : VEB Edition . ( Originally published in Italian , as La maniera italiana , La pittura italiana 10 . Rome : Editori Riuniti , 1961 ) . Carter , Tim . 1991 . Music in Late Renaissance and Early Baroque Italy . London : Amadeus Press . ISBN 0 - 9313 - 4053 - 5 Castagno , Paul C. 1994 . The Early Commedia Dell'arte ( 1550 -- 1621 ) : The Mannerist Context . New York : P. Lang . ISBN 0 - 8204 - 1794 - 7 . Cheney , Liana de Girolami ( ed . ) . 2004 . Readings in Italian Mannerism , second printing , with a foreword by Craig Hugh Smyth . New York : Peter Lang . ISBN 0 - 8204 - 7063 - 5 . ( Previous edition , without the forward by Smyth , New York : Peter Lang , 1997 . ISBN 0 - 8204 - 2483 - 8 ) . Freedberg , Sidney J. 1965 . `` Observations on the Painting of the Maniera '' . Reprinted in Cheney 2004 , 116 -- 23 . Freedberg , Sidney J. 1971 . Painting in Italy , 1500 -- 1600 , first edition . The Pelican History of Art . Harmondsworth and Baltimore : Penguin Books . ISBN 0 - 14 - 056035 - 1 Freedberg , Sidney J. 1993 . Painting in Italy , 1500 -- 1600 , 3rd edition , New Haven and London : Yale University Press . ISBN 0 - 300 - 05586 - 2 ( cloth ) ISBN 0 - 300 - 05587 - 0 ( pbk ) Friedländer , Walter . 1965 . Mannerism and Anti-Mannerism in Italian Painting . New York : Schocken . LOC 578295 ( First edition , New York : Columbia University Press , 1958 . ) Gombrich , E ( rnst ) H ( ans ) . 1995 . The Story of Art , sixteenth edition . London : Phaidon Press . ISBN 0 - 7148 - 3247 - 2 . Mirollo , James V. 1984 . Mannerism and Renaissance Poetry : Concept , Mode , Inner Design . New Haven : Yale University Press . ISBN 0 - 300 - 03227 - 7 . Shearman , John K.G. 1967 . Mannerism . Style and Civilization . Harmondsworth : Penguin . Reprinted , London and New York : Penguin , 1990 . ISBN 0 - 14 - 013759 - 9 Olson , Roberta J.M. , Italian Renaissance Sculpture , 1992 , Thames & Hudson ( World of Art ) , ISBN 9780500202531 Smyth , Craig Hugh . 1992 . Mannerism and Maniera , with an introduction by Elizabeth Cropper . Vienna : IRSA . ISBN 3 - 900731 - 33 - 0 . Summerson , John . 1983 . Architecture in Britain 1530 -- 1830 , 7th revised and enlarged ( 3rd integrated ) edition . The Pelican History of Art . Harmondsworth and New York : Penguin . ISBN 0 - 14 - 056003 - 3 ( cased ) ISBN 0 - 14 - 056103 - X ( pbk ) ( Reprinted with corrections , 1986 ; 8th edition , Harmondsworth and New York : Penguin , 1991 . ) Further reading ( edit ) Gardner , Helen Louise . 1972 . The Metaphysical Poets , Selected and Edited , revised edition . Introduction . Harmondsworth , England ; New York : Penguin Books . ISBN 0 - 14 - 042038 - X . Grossmann F. 1965 . Between Renaissance and Baroque : European Art : 1520 -- 1600 . Manchester City Art Gallery Hall , Marcia B . 2001 . After Raphael : Painting in Central Italy in the Sixteenth Century , Cambridge University Press . ISBN 0 - 521 - 48397 - 2 . Pinelli , Antonio . 1993 . La bella maniera : artisti del Cinquecento tra regola e licenza . Turin : Piccola biblioteca Einaudi . ISBN 88 - 06 - 13137 - 0 Sypher , Wylie. 1955 . Four Stages of Renaissance Style : Transformations in Art and Literature , 1400 -- 1700 . Garden City , N.Y. : Doubleday . A classic analysis of Renaissance , Mannerism , Baroque , and Late Baroque . Würtenberger , Franzsepp. 1963 . Mannerism : The European Style of the Sixteenth Century . New York : Holt , Rinehart and Winston ( Originally published in German , as Der Manierismus ; der europäische Stil des sechzehnten Jahrhunderts . Vienna : A. Schroll , 1962 ) . 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