The purpose of this ebook is to target the foundation of the historiography of the phrases Mannerism and Maniera in work and drawings of the sixteenth-century in Italy. The articles herewith awarded fall into different types. the 1st workforce explains the definition of the phrases Mannerism and Maniera, their periodicity, and their resources as illustrated by means of Giorogio Vasari, John Shearman, Craig Hugh Smyth, and Sydney Freedberg. the second one offers with the polemic linked to using the time period and historiography and its program as voiced via Walter Friedlaender, Max Dvorak, Ernst Gombrich, Henri Zerner, David Summers, Malcolm Campbell, and Iris Cheney.
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Additional resources for Readings in Italian Mannerism (American University Studies)
Considerations of Mannerist content, in other words, have followed the course of considerations on Mannerist form. The polarities are almost as striking and, dare one say, as inventive as the art of the Mannerists itself. , and Zenri), I propose a renascere, a rebirth, of Mannerism by reviewing and scrutinizing Giorgio Vasari's definition of Maniera and the Mannerist movement in view of contemporary approaches to art. Such approaches include issues of gender representation noted in the recent studies XXX by Elizabeth Cropper on theories of women's beauty17 Fredrika Jacobs on the decorum of Properzia de' Rossi18 and Mary Garrard on feminine discourses19 cultural movements discussed in the essays of Claudia Russo on political and astrological imagery of Cosimo I, Duke of Tuscany20 and Janet Cox-Rearick's Medici patronage and iconography21 new literary conventions elaborated on Virginia Callahan and Mauda Russo's Cinquecento emblematic tradition22 or a combination of methodologies such as historiography and aesthetics indicated by Craig Smyth's Mannerism and Maniera.
20/bid· 21 Vite, Third Preface. 22Jbid. 23Jbid. 24vite, Second Preface. Fig. 1 Jacopo Pontormo, Descent from the Cross, 1525. Florence, Santa Felicita, Capponi Chapel Fig. 1525. florence, Uff Fig. 3 Parmigianino, Madonna of the Rose, 1530-35. ,. V• 71r? , ,. • -. • ,,,·,,, Fig. 4 Parmigianino, Amor, 1535-40. V Kunsthistorisches Museum tft ,, -- 22 Fig. 5 Agnolo Bronzino, Eleonora of Toledo Chapel, 1540. Florence, Palazzo Vecchio Fig. 6 Francesco Salviati, Sala dell' Udienza, 1543--45, Florence, Palazzo Vecchio.
Interestingly, in the first preface Vasari does not mention the word maniera. However, he does so many times in the second and third prefaces. In the second preface, Vasari uses the term to explain not only the method and technique of the artists but also the style of an individual, school, period, or generation. He also compares aesthetically the first generation of artists with the second generation. "lO 14 Vasari employs the term maniera to refer to the method of working of an artist in this fashion in the second preface: "The superb Masaccio completely freed himself of Giotto's style and adopted a new manner for his heads, his draperies, buildings, and nudes, his colors and foreshortenings.