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An Italian sculptor in all but birth, Giambologna transformed the Florentine Mannerism of the mid-16th century into a style of European significance. His ability to capture fleeting expression and the vivacity and sensual delight of his mature style anticipate the Baroque sculpture …
The term mannerism describes the style of the paintings and bronze sculpture on this tour. Derived from the Italian maniera, meaning simply “style,” mannerism is sometimes defined as the “stylish style” for its emphasis on self-conscious artifice over realistic depiction. The sixteenth-century artist and critic Vasari—himself a mannerist—believed that excellence in painting demanded refinement, richness of …
Mannerism originated as a reaction to the harmonious classicism and the idealized naturalism of High Renaissance art as practiced by Leonardo da Vinci, Michelangelo, and Raphael in the first two decades of the 16th century.
In sculpture, Venice was less independent of Florence and Rome than in painting. The major 16th-century impetus came from Jacopo Sansovino, a central Italian who arrived in Venice in 1527. Sansovino never adopted the full-scale Mannerism of Florence, and his style retained a High Renaissance flavour, but his pupils Danese Cattaneo and Alessandro Vittoria were selectively able to …
The school of Bramante and Raphael, which had produced the High Renaissance style, was dispersed throughout Italy as artists fled from devastated Rome. Mannerism appeared and prevailed in some regions until the end of the 16th century, when the Baroque style developed. Mannerism was antithetical to many of the principles of the High Renaissance. Instead of harmony, clarity, and repose it was …
Benvenuto Cellini was an Italian goldsmith, sculptor, draftsman, soldier, musician, and artist who also wrote poetry and a famous autobiography. He was one of the most important artists of Mannerism. He is remembered for his skill, in such pieces as the Cellini Salt Cellar and Perseus with the Head of Medusa.
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