Mannerism Notes ARH 202 - 001
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ARH 202 - 001
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This 3 page Class Notes was uploaded by Audrey Pontin on Tuesday September 13, 2016. The Class Notes belongs to ARH 202 - 001 at University of North Carolina - Wilmington taught by Deirdre Marie Moench in Fall 2016. Since its upload, it has received 15 views. For similar materials see Renaissance Through Early Twentieth Century in Art History at University of North Carolina - Wilmington.
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Date Created: 09/13/16
The following ARH 202 notes are taken from Professor Moench’s lecture on 9/12/16. Mannerism Terms: Mannerism – a response to the Renaissance Martin Luther 95 Theses Indulgences – buying way out of sin and into heaven Figura Serpentinata – ‘S’ shape body position, serpinlike Counter Reformation points out corruption of the church; cleaning up with changes Council of Trent set rules of how art was to be portrayed; no nudity Henry VIII – created act of supremacy to be head of church Act of Supremacy John Calvin founder of Protestant Church Pontormo, Deposition, 152528 o Jesu's body descends from cross o epitome of mannerism o use of pastel colors o no balance or central focus o Jesus doesn't look Christlike with the exception of the stigmata o space where weight and volume don’t exist Figures float where feet hover from ground o Artist painted himself in as Joseph of Arimathea o body proportions not accurate o Drapery hold folds and consistency Parmigiano, Madonna and Child with Angels, 1534 o Afterthought of touch of eroticism o Baby Jesus strangely elongated o Figures all crammed in tight space, leaving open space around them o “Mary with long neck” appears strangely long o Mary points to erect nipple: lactating virgin angel stares at it to draw attention o Angel holds vase with reflection of Crucifix: alluding Christ’s future death o Column in background, awkwardly placed o Small, unknown figure in bottom corner o Long neck mimics long column = how Mary is the pillar of the church o Baby Jesus bends S shape serpentine figure extra vertebra o No visible chair upon where Mary sits The following ARH 202 notes are taken from Professor Moench’s lecture on 9/12/16. Michelangelo, The Last Judgement, 15344 o fresco connecting with Sistine Chapel ceiling o intense scene of the end of time o Variety of realms: upper heaven, lower heaven, Earth, and Hell o Upper: angels hold crucifix and pillar o Lower: muscular nonbearded Jesus as nonangelic Mary clings to Jesus o Earth: surrounded by Saints who hold their martyr symbols as good souls rise to heaven o Everything appears too compact, no rules of gravity o Hell: reached by boat ride on the River of Styx as Satan stand muscular surrounded by demons and fire o Michelangelo dies and another artist comes in to cover nudity with respect to the Council of Trent Bronzino, Venus, Cupid, Folly end Time, 1545 o painted for Cosmo D’Medici o Venus in incestuous moment with her son, Cupid o Contorted body positions, unhumanlike features o Mother and son caught in the act o Folly throws rose petals o Fraud, with head of a woman, body of snake, feet of a lion and backwards hands o Father Time pulls curtain back, hourglass on his shoulder o Haggard lady pulling hair out = jealousy o Top woman = oblivion o Figures are surrounded by symbols of wealth Orange, doves, masks, silk o Painting made for the King France, Francis I o Private commission so nudity was allowed Veronese, Christ in the House of Levi, l573 o Scene is not verbatim to Bible: too many people, unknown setting Was originally called Last Supper To be accepted by the Council of Trent, artist simply just changed the title o Jesus is still the central figure Cellini, Saltcellar of Francis Cellini, 1543 o Poseidon reclines on seahorses hold trident Too long and muscular The following ARH 202 notes are taken from Professor Moench’s lecture on 9/12/16. o Earth goddess reclines on the earth and flowers o Their positions are not able to be held by a normal person Giambolonga, Mercury, 1576 o Leading sculpture of mannerism o Mercury, messenger the Gods, with winged ankles and winged hat stands on the wind being blown out of severed head. o Can be seen from all angles as sits on pedestal new idea on how to present a sculpture o Sculpture is in motion Tintoretto, The Last Supper, 1592 94 o Too many people for narrative, yet still accepted o shadow vs. light o Jesus illuminates compared to surround figures o Table is separate from servants o Plume of radiating ghostlike angels o Space recedes o Juda sits on shadowy side of table not wearing a halo El Greco, Burial of Count Orgaz, 1586 o Overall gray tone o Sea of heads as nobody has a unique identity o 2 realms: heaven and Earth o Jesus appears elongated o El Greco’s son painted in looking at the audience o El Greco make a debut as well
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