Mannerism
Listen to the screencast below
If we look closely at some figures by Michelangelo (and even some paintings by Raphael) we notice some characteristics that do not fit in with what we know about the Renaissance style. We could say that Michelangelo and Raphael both show signs of moving past the style of the Renaissance into a new style we call Mannerism!
For example, take this Ignudo by Michelangelo from the Sistine Ceiling.
Remember that the primary characteristic of the Renaissance is Naturalism — the idea that figures not only look realistic, but actually move in ways that make sense. If you were to go home and sit on your couch, would you sit in this position?
Try even sitting like this right now. The shoulders are frontal, the head is in profile, the legs, like the head, are viewed in profile. The foot of the front leg tucks under the calf of the back leg, and the back arm comes forward to rest on the front knee.
Pretty complicated. And not very naturalistic. The figure seems posed, and rather artificial. The High Renaissance always involved a sense of elegance and gracefulness.
Here it seems as though that elegance is the very subject of the work of art!
This is one of the primary characteristics of the style that becomes dominant after the death of Raphael in 1520. In fact it is Raphael’s students who become the first Mannerist painters.
A Mannerist Painting:
Have a close look at Pontormo’s painting the Entombment (1525-8).
What do you notice? What’s missing? How does the artist treat the human figures? How does he treat space? How is this different from a Renaissance painting? You might want to think about Raphael’s School of Athens or Leonardo’s Last Supper as a point of comparison.
