Editing Mannerism (section)

== Characteristics of artworks ==
Mannerism was an anti-classical movement which differed greatly from the aesthetic ideologies of the [[Renaissance]].<ref name=":1" /> Though Mannerism was initially accepted with positivity based on the writings of [[Giorgio Vasari|Vasari]],<ref name=":1" /> it was later regarded in a negative light because it solely view as "an alteration of natural truth and a trite repetition of natural formulas."<ref name=":1" /> As an artistic moment, Mannerism involves many characteristics that are unique and specific to experimentation of how art is perceived. Below is a list of many specific characteristics that Mannerist artists would employ in their artworks.
* Elongation of figures: often Mannerist work featured the elongation of the human figure – occasionally this contributed to the bizarre imagery of some Mannerist art.<ref name=":2">{{Cite book|title=The Renaissance and Mannerism in Northern Europe and Spain|last=Smart|first=Alastair|publisher=Harcourt Brace Jovanovich|year=1972|location=New York|pages=118}}</ref>
* Distortion of perspective: in paintings, the distortion of [[Perspective (graphical)|perspective]] explored the ideals for creating a perfect space. However, the idea of perfection sometimes alluded to the creation of unique imagery. One way in which distortion was explored was through the technique of [[foreshortening]]. At times, when extreme distortion was utilized, it would render the image nearly impossible to decipher.<ref name=":2" />
* Black backgrounds: Mannerist artists often utilized flat black backgrounds to present a full contrast of contours in order to create dramatic scenes. Black backgrounds also contributed to a creating sense of fantasy within the subject matter.<ref name=":2" />
* Use of darkness and light: many Mannerists were interested in capturing the essence of the night sky through the use of intentional illumination, often creating a sense of fantasy scenes. Notably, special attention was paid to torch and moonlight to create dramatic scenes.<ref name=":2" />
* Sculptural forms: Mannerism was greatly influenced by sculpture, which gained popularity in the sixteenth century. As a result, Mannerist artists often based their depictions of human bodies in reference to sculptures and prints. This allowed Mannerist artists to focus on creating dimension.<ref name=":2" />
* Clarity of line: the attention that was paid to clean outlines of figures was prominent within Mannerism and differed largely from the [[Baroque]] and [[High Renaissance]].The outlines of figures often allowed for more attention to detail.<ref name=":2" />
*[[Composition (visual arts)|Composition]] and space: Mannerist artists rejected the ideals of the [[Renaissance]], notably the technique of [[one-point perspective]]. Instead, there was an emphasis on atmospheric effects and distortion of [[Perspective (graphical)|perspective]]. The use of space in Mannerist works instead privileged crowded compositions with various forms and figures or scant compositions with emphasis on black backgrounds.<ref name=":2" />
* Mannerist movement: the interest in the study of human movement often lead to Mannerist artists rendering a unique type of movement linked to [[Figura serpentinata|serpentine positions]]. These positions often anticipate the movements of future positions because of their often-unstable motions figures. In addition, this technique attributes to the artist's experimentation of form.<ref name=":2" />
* Painted frames: in some Mannerist works, painted frames were utilized to blend in with the background of paintings and at times, contribute to the overall composition of the artwork. This is at times prevalent when there is special attention paid to ornate detailing.<ref name=":2" />
* Atmospheric effects: many Mannerists utilized the technique of [[sfumato]], known as, "the rendering of soft and hazy contours or surfaces"<ref name=":2" /> in their paintings for rendering the streaming of light.<ref name=":2" />
* Mannerist colour: a unique aspect of Mannerism was in addition to the experimentation of form, composition, and light, much of the same curiosity was applied to color. Many artworks toyed with pure and intense [[hue]]s of blues, green, pinks, and yellows, which at times detract from the overall design of artworks, and at other times, complement it. When painting the figure, artists would often emphasize the lightness of complexions and utilize undertones of blue.<ref name=":2" />