1.3 - Artwork of painting Flashcards
By Parmigianino (1503-1540). The figures are perfect, but the proportions have become unreal. Mary is large with very big hips and thighs and a weird curving contour of her right hand.
The composition is unbalanced and spatially ambiguous. The figures are crowded on the left side, yet the open area on the right side is almost empty. The column in the background is a symbol of the torture of Jesus. The tiny prophet emphasizes the odd and unclear spatial arrangement.
By Bronzino (1503-1572) A court painter to Cosimo de medici. His painting of the allegory of venus (1546) demonstrates the intentional ambiguity of mannerist iconography.
The two figures venus and cupid, their relationship is shown to be uncomfortably erotic. Typically mannerist is the complexity and obscurity of the allegory (interpreted in various ways by historians)
The subject and composition are also unclear. Mannerism is the absence of a single center of focus. The figures completely fill the composition. The colors are acid and metallic, their expression is tense and restless.
Tintoretto
Leader of the mannerists in Venice, painter of the last supper. The renaissance clarity of leonardo da vinci´s last supper is gone. The viewer needs some time to find Jesus in the scene, There are many figures in the scene and Jesus is pushed back into the space. You can only see him by his central position and the aureole of light. The light is not realistic and the table is not parallel to the picture plane.
Yet there is no possibility of mistaking this for a genre scene. Religious drama and emotion derive from tintoretto´s composition and lightning. His greatest concern was the aesthetic problem (potential of light, movement and drama).
By el Greco.
Most interesting artist with mannerist qualities. Most important of his major commissions is the burial of count orgaz of 1586. In the painting the burial and ascension occur in 2 seperate realms, neither of which fits spatially with the other, and both packed with figures.
The top half of the scene is the most spatially ambiguous of all mannerist painting. The most notable aspect of the painting is jesus´ right arm. The long hands and arms are the most mannered feature of the art, yet its difficult to label his work ´mannerist´. His aim is to move his audience by showing a sense of spiritual, mystical power of deeply religious faith and conviction. In this, his painting is more of that of the baroque age.
By sofonisba anguissola.
She frequently painted self-portraits, like the one of one of her sisters Minerva. In castiglione´s book of the courtier hey said that women should learn to paint. And so she and all her sisters became painters. She was specialized in portraits, which was customary for women artists of this era. Minerva wears a large gold medallion of the ancient Minerva, goddess of widsom and the arts.
By lavinia fontana.
First woman in western europe to establish herself as a professional artist. Her portrait of a noblewoman is representative of her work: although women artist specialized in portraits, fontana´s art included religious and mythological subjects as well. The appeal of her style lies in the painted details of the costume, her technical skill in depicting various textures and de absence of a distracting background.
