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by John Shearman

ISBN: 0140208089
Author: John Shearman
Language: English
Publisher: Penguin Books; Notations edition (February 23, 1978)
Pages: 224
Category: History & Criticism
Subcategory: Art
Rating: 4.8
Votes: 167
Size Fb2: 1235 kb
Size ePub: 1180 kb
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John Shearman History and Criticism English

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history and the problems of style in. pository rather than. Mannerism was essentially an Italian style, and wherever it appears outside Italy it represents the adoption of Italian standards.

Mannerism With 102. illustrations. history and the problems of style in. Its spread throughout the North was, in fact, one aspect and result of the Italian cultural domination of Europe that dates from the invasion of Italy by Charles vni of France.

Mannerism (Style and civilization) Hardcover – 1967. Shearman maintains that mannerism was not a reaction against the High Renaissance, but more a natural transformation, even if the artists involved had to make a stand

Mannerism (Style and civilization) Hardcover – 1967. by. John K. G Shearman (Author). Find all the books, read about the author, and more. Are you an author? Learn about Author Central. Shearman maintains that mannerism was not a reaction against the High Renaissance, but more a natural transformation, even if the artists involved had to make a stand.

Mannerism (Style and Civilization) Paperback – February 23, 1978. by John Shearman (Author).

4 quotes from Mannerism: ‘When a Mannerist artist breaks rules he does so on the . If we say that a person has style we may wish to imply that he is unnatural, affected, self-conscious or ostentatious

4 quotes from Mannerism: ‘When a Mannerist artist breaks rules he does so on the basis of knowledge and not of ignorance. A considerable amount of North. If we say that a person has style we may wish to imply that he is unnatural, affected, self-conscious or ostentatious. In the sixteenth century 'maniera' was generally a desirable attribute of a work of art, but this positive aspect was accompanied by the realization of the negative one that correspond to what we now call, derogatively, stylization. John Shearman, Mannerism.

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, spreading by about 1530 and lasting until about the end of the 16th century in Italy, when the Baroque style.

Are you sure you want to remove Mannerism (Style and Civilization) from your list? Mannerism (Style and Civilization). Published January 25, 1991 by Penguin (Non-Classics).

Find many great new & used options and get the best deals for Mannerism by John Shearman (Paperback, 1991) at the . Title: Style And Civilization: Mannerism (Penguin Art & Architecture . Item Condition: Used; Acceptable

Title: Style And Civilization: Mannerism (Penguin Art & Architecture . Item Condition: Used; Acceptable. This date is supplied from the publishers data and can be inaccurate. Read full description. See details and exclusions. See all 3 pre-owned listings.

Style and Civilization Series. Style and Civilization Series. Baltimore, M. Penguin Books, 1967. Kurt W. Forster (a1).

Mannerism is a style in European art that emerged in the later years of the Italian . Style and Civilization. Harmondsworth: Penguin.

Mannerism is a style in European art that emerged in the later years of the Italian High Renaissance around 1520, lasting until about 1580 in Italy, when the Baroque style began to replace it. 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.

Mannerism (Style and Civilization)

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invasion

This book was recommended reading for a tour of Italy, it arrived in good time and in very good condition. I am very happy with purchase.

Nuadador

In this work, Shearman studies the notions of grace and sprezzatura, or perfect conduct or performance of something as an artistic endeavour, without apparent effort, as they are applied in mannerism, in the fine arts as well as literature and music. Shearman’s survey of art forms demonstrates how maniera or "mannered style" evokes a sense of that which is theatrical or dramatic, as well as meticulously refined, yet lacking in an overall theme. Shearman illustrates how mannerism fitted well to the graceful Renaissance life, while presumptions of it as empty affectation have given later critics glib licence to be dismissive of it. Despite assumptions the movement was born in easy circumstances, Michelangelo, Raphael, Pontormo and other artists of about 1520 were in fact reacting against the strictures of the High Renaissance, in their unbalanced, disproportionate scenes and indicate an extreme self-consciousness, promoting themselves as authors rather than as anonymous craftsmen.

Shearman theorises that the word maniera evolved into an idea advocating artistic grace, reviving classical forms, particularly those of Corinth, rather than the Doric or Ionic forms. The plastic figures of the mannerists were less tense, like dynamic flames of fire. Shearman says of maniera: "The positive qualities of style are surely a certain poise, cultured elegance, refinement, and perfection of performance; the negative qualities are unnaturalness, affectation, self-consciousness, and ostentation."
Castiglione inspired one school of mannerists, urging performance as opposed to affectation, or the execution of sprezzatura, as art became a part of the secular domain, as politics and commerce became more distinct from the Church. Shearman observes that Vasari's use of grazia, or grace, in his Lives, is borrowed from Castiglione, so that "Maniera, from being an attribute of people, became applied to a similar quality desirable in works of art." Shearman maintains that mannerism was not a reaction against the High Renaissance, but more a natural transformation, even if the artists involved had to make a stand.

Shearman sees maniera as pervasive all aspects of sixteenth century Italian Life, even extending to the rituals of capital punishment. Hence, St. George and the Dragon by Raphael, applies maniera in depicting matters of violence, yet softening, or perhaps bowdlerising, its impact on the viewer. In this way the Renaissance mannerists adapted medieval content to the gracefulness of classical style: "Thus, an essential quality of maniera was the attempt of sheer style to make agreeable even the most unsavory of subjects, to make what was substantially ugly not only palatable but even inventively fascinating and beautiful."

Mannerism thus managed to avoid heavy-handed themes by focusing an audience on details within a work, including the near naked prophets and martyrs in Michelangelo’s Last Judgement, or the amoretti in scenes of Mars and Venus. For this particularism the artists were often criticised by the Catholic Church, so that in the Baroque era, artists were more conscious of the idoneous detail they applied when expressing thematic works.

Tar

This short overview does a great job of defining the Mannerist style in art, architecture, literature, theater, music, and design. It's written for the amateur but it's substantial enough for art history students. The illustrations are small and black and white, but I'm not complaining because I could actually take this with me to read wherever I went.

Jwalextell

Makes short work of the clichés surrounding the subject and admirably brings the intellectual pursuits of the era to life. Moving briskly from architecture and painting to poetry and music and back again as he illustrates the connections between all the arts, the writer demands you pay *full* attention, but the payoff is well worth the effort.