Study ARTH 102 - Mannerism Works Flash Cards
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Pile Management Card
ARTH 102 - Mannerism Works
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El Greco, Greek, Mannerism, 1586. Divine and everyday converge in depiction of myth where two saints descend from heaven to bury this man. Men that commissioned the painting are shown, and also El Greco's son (he has a handkerchief with El Greco's name on it). Paradise is shown above them. Color is muted and somber. St. Stephen has picture of death on robe.
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Agnolo Bronzino, Italian, Mannerism, 1546. Physical embodiments of certain concepts. Venus shares an incestuous kiss with her son, Cupid. Folly throws rose petals with thorns on feet, oblivious to pain, representing human idiocy in love. Girl offers a honeycomb but has the body of a snake. Concept of the human body being beautiful is removed. Hag pulls hair out, representing jealousy. Venus strokes Cupid's arrow, a sexual reference. Father Time tears a curtain from Oblivion, representing that over time, you realize that romance can make a fool out of you.
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The Madonna with the Long Neck
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Parmigianino, Italian, Mannerism, 1535. Refined, but grotesque. Madonna has a ridiculously long neck, meant to suggest beauty at the time, and is placed next to a Greco-Roman column for emphasis. Grotesque looking Christ. Reflection of cross in container is foreshadowing. Awkward perspective, especially of people in the background.
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Jacobo del Pontormo, Italian, Mannerism, 1526-1528. Has a strange but illogical sense of balance with emotional but inscrutable expressions. Portomo put himself in the background. Physicality doesn't make sense, as with man with two-toned skin. Placed in church of Santa Felicita in Florence in such a way that it suggests that Jesus is being put on the altar.
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