Here are presented two essays by one of the pioneers in the modern exploration of 16th century Italian art.
Author: Walter Friedlaender
Publisher: Columbia University Press
Here are presented two essays by one of the pioneers in the modern exploration of 16th century Italian art. The first, on the Kunstwissenschaft, v.XLVII; the second, on the style translated and published in a 1957 edition, of which this is a reprint (with inclusion of a 1964 foreword).
The first, on the Kunstwissenschaft, v.XLVII; the second, on the style translated and published in a 1957 edition, of which this is a reprint (with inclusion of a 1964 foreword).
Author: Walter F. Friedlaender
Category: Mannerism (Art)
Focuses on IAFWA's status as a proponent of broadly applied conservation policies since its founding in 1902. The debate over state vs. federal jurisdiction in wildlife management is prominently discussed. Here are presented two essays by one of the pioneers in the modern exploration of 16th century Italian art. The first, on the Kunstwissenschaft, v.XLVII; the second, on the style translated and published in a 1957 edition, of which this is a reprint (with inclusion of a 1964 foreword).
Notes CHAPTER 1 : INTRODUCTION : MANAGING MANNERISM 1. ... Ithaca : Cornell University Press , 1968 ) ; Classic Art : An Introduction to the Italian Renaissance ( 1899 ) trans . ... Anti - Mannerism in Italian Painting ( 1957 ; rpt .
Author: L. E. Semler
Publisher: Fairleigh Dickinson Univ Press
In this study, L.E. Semler begins with a comprehensive, historical definition of Mannerism in visual arts from which he derives four key terms that constitute the nucleus of the aesthetic: technical precision, elegance, grazia, and the difficulta:facilita formula. These principles - interwoven with one another and with maniera - are derived from visual arts but are specifically designed to be transferable to any medium. The rest of the book situates the English poets in relation to the visual arts - including painting, limning, gold- and silversmithery, architecture, and garden design - and discusses their verse in relation to the key Mannerist principles.
Arcimboldo and the Mannerist Grotesque Giancarlo Maiorino. 17. The Incredulous Reader : Literature and ... The Treatise on Painting , vol . 1 , ed . ... Mannerism and Anti - Mannerism in Italian Painting ( New York , 1969 ) , 48 . 2.
Author: Giancarlo Maiorino
Publisher: Penn State Press
In this companion to his The Cornucopian Mind and the Baroque Unity of the Arts, Maiorino examines the links between Renaissance and the modern versions of the Groteseque. In this interdisciplinary study, the term &"eccentricity&" refers to styles of playful extravagance. Maiorino focuses on the rhetorical figures of excess employed by a critic-historian (Giorgio Vasari), on the willful artificiality of a painter (Giuseppe Arcimboldo), and on the programmatic and interpretive commentary of a theorist (Gregorio Comanini). Maiorino draws subtle and persuasive connections between the images he discusses and the grotesque &"face&" of sixteenth-century poetics and rhetoric. He sets the mannerist and the grotesque against the philosophical seriousness of Renaissance humanism, interpreting them as a celebration of the ludic and fantastic possibilities of art itself. Aiming at pleasure rather than instruction, this art plays on the boundaries of the natural and the artificial, the credible and the impossible, taking delight in parody, excess, disjunction, and exaggeration.
Notes INTRODUCTION 1 A. Hauser , The Social History of Art , 2 vols . , London , 1951 ; repr . in 4 vols . , 1962 . ... 3 These two studies were published in English under the title Mannerism and Anti - Mannerism in Italian Painting ...
Author: Jean-Pierre Maquerlot
Publisher: Cambridge University Press
This 1996 book offers an original approach to Shakespeare's so-called 'problem plays' by contending that they can be viewed as experiments in the Mannerist style. The plays reappraised here are Julius Caesar, Hamlet, Troilus and Cressida, All's Well That Ends Well and Measure for Measure. How can a term used to define a movement in art history be made relevant to theatrical analysis? Maquerlot shows how famous painters of sixteenth-century Italy cultivated structural ambiguity or dissonance in reaction to the classical canons of the High Renaissance. Close readings of Shakespeare's plays, from the period 1599 to 1604, reveal intriguing analogies with Mannerist art and the dramatist's response to Elizabethan formalism. Maquerlot concludes by examining Othello, which marks the end of Shakespeare's Mannerist experiments, and the less equivocal use of artifice in his late romances.