Editing Mannerism (section)

==Artists and examples of their work==
[[File:Persus wiewael.jpg|thumb|upright=1.2|[[Joachim Wtewael]] ''Perseus and Andromeda'', 1616, Louvre, the composition displaying a ''Vanité'' of bones and seashells in the foreground and an elaborate academic nude with a palette borrowing from the foreground for Andromeda's cheeks. The dragon seems to have [[Chinese dragon|Chinese]] influence.]]

===Jacopo da Pontormo===
[[Pontormo|Jacopo da Pontormo]]'s work is one of the most important contributions to Mannerism.<ref name=":0">{{Cite web|url=http://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000068662.|title=Pontormo, Jacopo da.|last=Cox-Rearick|first=Janet|website=Grove Art Online|access-date=1 April 2019}}</ref> He often drew his subject matter from religious narratives; heavily influenced by the works of Michelangelo,<ref name=":0" /> he frequently alludes to or uses sculptural forms as models for his compositions.<ref name=":1">{{Cite book|title=Pontormo, Rosso Fiorentino|last=Marchetti Letta, Elisabetta|date=1995|publisher=Constable|isbn=0094745501|pages=6|oclc=642761547}}</ref> A well-known element of his work is the rendering of gazes by various figures which often pierce out at the viewer in various directions.<ref name=":1" /> Dedicated to his work, Pontormo often expressed anxiety about its quality and was known to work slowly and methodically.<ref name=":1" /> His legacy is highly regarded, as he influenced artists such as [[Agnolo Bronzino]] and the aesthetic ideals of late Mannerism.<ref name=":0" />

Pontormo's ''Joseph in Egypt'', painted in 1517,<ref name=":1" /> portrays a running narrative of four Biblical scenes in which [[Joseph (Genesis)|Joseph]] reconnects with his family. On the left side of the composition, Pontomoro depicts a scene of Joseph introducing his family to the [[Pharaoh]] of [[Egypt]]. On the right, Joseph is riding on a rolling bench, as cherubs fill the composition around him in addition to other figures and large rocks on a path in the distance. Above these scenes, is a spiral staircase which Joseph guides one his sons to their mother at the top. The final scene, on the right, is the final stage of Jacob's death as his sons watch nearby.<ref name=":1" />

Pontormo's ''Joseph in Egypt'' features many Mannerist elements. One element is utilization of incongruous colors such as various shades of pinks and blues which make up a majority of the [[Canvas painting|canvas]]. An additional element of Mannerism is the incoherent handling of time about the story of Joseph through various scenes and use of space. Through the inclusion of the four different narratives, Ponotormo creates a cluttered composition and overall sense of busyness.

===Rosso Fiorentino and the School of Fontainebleau===
[[Rosso Fiorentino]], who had been a fellow pupil of Pontormo in the studio of [[Andrea del Sarto]], in 1530 brought Florentine Mannerism to [[Fontainebleau]], where he became one of the founders of French 16th-century Mannerism, popularly known as the [[School of Fontainebleau]].

The examples of a rich and hectic decorative style at Fontainebleau further disseminated the Italian style through the medium of [[engraving]]s to [[Antwerp]], and from there throughout Northern Europe, from London to Poland. Mannerist design was extended to luxury goods like silver and carved furniture. A sense of tense, controlled emotion expressed in elaborate symbolism and [[allegory]], and an ideal of female beauty characterized by elongated proportions are features of this style.

===Agnolo Bronzino===
[[File:Angelo Bronzino - Venus, Cupid, Folly and Time - National Gallery, London.jpg|thumb|upright=1.2|High Mannerism: ''[[Venus, Cupid, Folly and Time]]'' by [[Bronzino]], {{circa|1545}}; [[National Gallery|National Gallery, London]]]]
[[Bronzino|Agnolo Bronzino]] was a pupil of Pontormo,<ref name=":3">{{Cite book|title=Bronzino|last1=Cecchi|first1=Alessandro|last2=Bronzino|first2=Agnolo|last3=vans|first3=Christopher E|publisher=The Library of Great Masters|year=1996|location=Antella, Florence|pages=20}}</ref> whose style was very influential and often confusing in terms of figuring out the attribution of many artworks.<ref name=":3" /> During his career, Bronzino also collaborated with [[Giorgio Vasari|Vasari]] as a [[Scenic design|set designer]] for the production "Comedy of Magicians", where he painted many [[portrait]]s.<ref name=":3" /> Bronzino's work was sought after, and he enjoyed great success when he became a [[court painter]] for the [[House of Medici|Medici]] family in 1539.<ref name=":3" /> A unique Mannerist characteristic of Bronzino's work was the rendering of milky [[complexion]]s.<ref name=":3" />

In the painting, ''[[Venus, Cupid, Folly and Time]]'', Bronzino portrays an erotic scene that leaves the viewer with more questions than answers. In the foreground, [[Cupid]] and [[Venus (mythology)|Venus]] are nearly engaged in a kiss, but pause as if caught in the act. Above the pair are mythological figures, [[Father Time]] on the right, who pulls a curtain to reveal the pair and the representation of the [[Nyx|goddess of the night]] on the left. The composition also involves a grouping of masks, a [[Hybrid beasts in folklore|hybrid creature]] composed of features of a girl and a serpent, and a man depicted in agonizing pain. Many theories are available for the painting, such as it conveying the dangers of [[syphilis]], or that the painting functioned as a [[Royal court|court]] game.<ref>{{Cite book |last1=Stokstad |first1=Marilyn |url=https://archive.org/details/arthistoryvolume00stok_027 |title=Art History |last2=Cothren |first2=Michael Watt |publisher=Pearson/Prentice Hall |year=2011 |isbn=9780205744220 |location=Upper Saddle River, New Jersey |pages=[https://archive.org/details/arthistoryvolume00stok_027/page/n176 663] |url-access=limited}}</ref>

Mannerist portraits by Bronzino are distinguished by a serene elegance and meticulous attention to detail. As a result, Bronzino's sitters have been said to project an aloofness and marked emotional distance from the viewer. There is also a virtuosic concentration on capturing the precise pattern and sheen of rich textiles. Specifically, within the ''Venus, Cupid, Folly and Time'', Bronzino utilizes the tactics of Mannerist movement, attention to detail, color, and sculptural forms. Evidence of Mannerist movement is apparent in the awkward movements of Cupid and Venus, as they contort their bodies to partly embrace. Particularly, Bronzino paints the complexion with the many forms as a perfect porcelain white with a smooth effacement of their muscles which provides a reference to the smoothness of sculpture.

===Alessandro Allori===
[[Alessandro Allori]]'s (1535–1607) ''Susanna and the Elders'' (''below'') is distinguished by latent eroticism and consciously brilliant still life detail, in a crowded, contorted composition.

===Jacopo Tintoretto===
[[File:Jacopo Tintoretto - The Last Supper - WGA22649.jpg|thumb|upright=1.4|[[Jacopo Tintoretto]], ''[[Last Supper (Tintoretto)|Last Supper]]'', 1592–1594]]
[[Tintoretto|Jacopo Tintoretto]] has been known for his vastly different contributions to [[Venetian school (art)|Venetian painting]] after the legacy of [[Titian]]. His work, which differed greatly from his predecessors, had been criticized by [[Giorgio Vasari|Vasari]] for its, "fantastical, extravagant, bizarre style."<ref name=":4">{{Cite book|title=Tintoretto : tradition and identity|last=Nichols, Tom|isbn=9781780234816|pages=234|oclc=970358992|date=1 October 2015|publisher=Reaktion Books }}</ref> Within his work, Tintoretto adopted Mannerist elements that have distanced him from the classical notion of Venetian painting, as he often created artworks which contained elements of fantasy and retained [[Naturalism (art)|naturalism]].<ref name=":4" /> Other unique elements of Tintoretto's work include his attention to color through the regular utilization of rough brushstrokes<ref name=":4" /> and experimentation with pigment to create illusion.<ref name=":4" />

An artwork that is associated with Mannerist characteristics is the ''[[Last Supper (Tintoretto)|Last Supper]]''; it was commissioned by Michele Alabardi for the [[San Giorgio Maggiore (church), Venice|San Giorgio Maggiore]] in 1591.<ref name=":4" /> In Tintoretto's ''Last Supper'', the scene is portrayed from the angle of group of people along the right side of the composition. On the left side of the painting, [[Jesus|Christ]] and the [[Apostles in the New Testament|Apostles]] occupy one side of the table and single out [[Judas Iscariot|Judas]]. Within the dark space, there are few sources of light; one source is emitted by Christ's [[Halo (religious iconography)|halo]] and hanging torch above the table.

In its distinct composition, the ''Last Supper'' portrays Mannerist characteristics. One characteristic that Tintoretto utilizes is a black background. Though the painting gives some indication of an interior space through the use of [[Perspective (graphical)|perspective]], the edges of the composition are mostly shrouded in shadow which provides drama for the central scene of the ''Last Supper''. Additionally, Tintoretto utilizes the spotlight effects with light, especially with the halo of Christ and the hanging torch above the table. A third Mannerist characteristic that Tintoretto employs are the atmospheric effects of figures shaped in smoke and float about the composition.

===El Greco===
[[File:El Greco (Domenikos Theotokopoulos) - Laocoön - Google Art Project.jpg|thumb|upright=1.2|left|[[El Greco]], ''[[Laocoön (El Greco)|Laocoön]]'' ({{circa|1610–1614}}), [https://www.nga.gov/collection/art-object-page.33253.html National Gallery of Art] ]]
The [[Crete|Cretan]]-born Spanish painter [[El Greco]] attempted to express religious emotion with exaggerated traits. After the realistic depiction of the human form and the mastery of perspective achieved in High Renaissance, some artists started to deliberately distort proportions in disjointed, irrational space for emotional and artistic effect. El Greco still is a deeply original artist. He has been characterized by modern scholars as an artist so individual that he belongs to no conventional school.<ref name="ReferenceB" /> Key aspects of Mannerism in El Greco include the jarring "acid" palette, elongated and tortured anatomy, irrational perspective and light, and obscure and troubling iconography.<ref>{{cite web|url=http://www.nga.gov/collection/gallery/gg29/gg29-over1.html |title= El Greco |publisher=National Gallery of Art |access-date=19 May 2013}}</ref><ref>{{cite web|url=http://www.metmuseum.org/toah/hd/grec/hd_grec.htm |title= El Greco (1541–1614) |publisher=Metropolitan Museum of Art |first1=Keith |last1=Christiansen |date=October 2004 |access-date=19 May 2013}}</ref> El Greco's style was a culmination of unique developments based on his Greek heritage and travels to Spain and Italy.<ref name=":5">{{Cite web|url=http://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000034199|title=Greco, El|last=Marías|first=Fernando|date=2003|website=Grove Art Online |doi=10.1093/gao/9781884446054.article.T034199 |doi-access=free |isbn=978-1-884446-05-4 |access-date=1 April 2019}}</ref>

El Greco's work reflects a multitude of styles including [[Byzantine art|Byzantine]] elements as well as the influence of [[Caravaggio]] and [[Parmigianino]] in addition to [[Venetian school (art)|Venetian coloring]].<ref name=":5" /> An important element is his attention to color as he regarded it to be one of the most important aspects of his painting.<ref>{{Cite book|title=El Greco-The Greek|last=Lambraki-Plaka|first=Marina|year=1999|isbn=960-03-2544-8|location=Kastaniotis.|pages=47–49 |publisher=Ekdoseis Kastaniōtē }}</ref> Over the course of his career, El Greco's work remained in high demand as he completed important commissions in locations such as the [[Palacio del Senado (Spain)|Colegio de la Encarnación de Madrid]].<ref name=":5" />

El Greco's unique painting style and connection to Mannerist characteristics is visible in his ''[[Laocoön (El Greco)|Laocoön]]''. Painted in 1610,<ref name=":6">{{Cite book|title=El Greco|last1=Davies|first1=David|last2=Greco|first2=J. H|author3=Metropolitan Museum of Art|author4=National Gallery|publisher=National Gallery Company|year=2003|location=London|pages=245}}</ref> it depicts the mythological tale of [[Laocoön]], who warned the [[Trojan War|Trojans]] about the danger of the [[Trojan Horse|wooden horse]] which was presented by the Greeks as peace offering to the goddess [[Minerva]]. As a result, Minerva retaliated in revenge by summoning serpents to kill Laocoön and his two sons. Instead of being set against the backdrop of [[Troy]], El Greco situated the scene near [[Toledo, Spain]] in order to "universalize the story by drawing out its relevance for the contemporary world."<ref name=":6" />

El Greco's unique style in ''Laocoön'' exemplifies many Mannerist characteristics. Prevalent is the elongation of many of the human forms throughout the composition in conjunction with their serpentine movement, which provides a sense of elegance. An additional element of Mannerist style is the atmospheric effects in which El Greco creates a hazy sky and blurring of landscape in the background.

===Benvenuto Cellini===
[[Benvenuto Cellini]] created the ''[[Cellini Salt Cellar]]'' of gold and enamel in 1540 featuring [[Poseidon]] and [[Amphitrite]] (water and earth) placed in uncomfortable positions and with elongated proportions. It is considered a masterpiece of Mannerist sculpture.
[[File:Minerva dressing by Lavinia Fontana (1613).jpg|thumb|''Minerva Dressing'' (1613) by [[Lavinia Fontana]] (1552–1614). [[Galleria Borghese]], Rome.]]

=== Lavinia Fontana ===
[[Lavinia Fontana]] (1552–1614) was a Mannerist portraitist often acknowledged to be the first female career artist in Western Europe.<ref>{{Cite book |author=Murphy |first=Caroline |title=Lavinia Fontana: a painter and her patrons in sixteenth-century Bologna |date=2003 |publisher=Yale University Press |isbn=0300099134 |location=New Haven, Connecticut |oclc=50478433}}</ref> She was appointed to be the Portraitist in Ordinary at the [[Holy See|Vatican]].<ref>{{Cite book|title=Self-portraits by women painters |date=2000|publisher=Ashgate|first=Liana |last=Cheney |editor1=Alicia Craig Faxon |editor2=Kathleen Lucey Russo |isbn=1859284248|location=Aldershot, Hants, England|oclc=40453030}}</ref> Her style is characterized as being influenced by the [[The Carracci|Carracci family]] of painters by the colors of the Venetian School. She is known for her portraits of noblewomen, and for her depiction of nude figures, which was unusual for a woman of her time.<ref>{{Cite web |title=Lavinia Fontana's nude Minervas |url=https://www.thefreelibrary.com/Lavinia+Fontana%27s+nude+Minervas.-a0464162808 |access-date=10 March 2019 |website=www.thefreelibrary.com}}</ref>

===Taddeo Zuccaro (or Zuccari)===
[[Taddeo Zuccari|Taddeo Zuccaro]] was born in [[Sant'Angelo in Vado]], near Urbino, the son of Ottaviano Zuccari, an almost unknown painter. His brother [[Federico Zuccari|Federico]], born around 1540, was also a painter and architect.

===Federico Zuccaro (or Zuccari)===
[[Federico Zuccari|Federico Zuccaro]]'s documented career as a painter began in 1550, when he moved to Rome to work under [[Taddeo Zuccari|Taddeo]], his elder brother. He went on to complete decorations for [[Pius IV]], and help complete the fresco decorations at the [[Villa Farnese|Villa Farnese at Caprarola]]. Between 1563 and 1565, he was active in [[Venice]] with the [[Grimani family|Grimani]] family of Santa Maria Formosa. During his Venetian period, he traveled alongside [[Andrea Palladio|Palladio]] in Friuli.

===Joachim Wtewael===
[[Joachim Wtewael]] (1566–1638) continued to paint in a [[Northern Mannerist]] style until the end of his life, ignoring the arrival of the [[Baroque art]], and making him perhaps the last significant Mannerist artist still to be working. His subjects included large scenes with still life in the manner of [[Pieter Aertsen]], and mythological scenes, many small [[cabinet painting]]s beautifully executed on copper, and most featuring nudity.

===Giuseppe Arcimboldo===
[[Giuseppe Arcimboldo]] is most readily known for his artworks that incorporate [[still life]] and [[portrait]]ure.<ref name=":7" /> His style is viewed as Mannerist with the assemblage style of fruits and vegetables in which its composition can be depicted in various ways—right side up and upside down.<ref name=":7">{{Cite book|title=Arcimboldo|last=Kaufmann|first=Thomas DaCosta|date=2010|publisher=University of Chicago Press|isbn=9780226426877|pages=167|doi = 10.7208/chicago/9780226426884.001.0001}}</ref> Arcimboldo's artworks have also applied to Mannerism in terms of humor that it conveys to viewers, because it does not hold the same degree of seriousness as Renaissance works.<ref name=":7" /> Stylistically, Arcimboldo's paintings are known for their attention to nature and concept of a "monstrous appearance".<ref name=":7" />

One of Arcimboldo's paintings which contains various Mannerist characteristics is, ''[[Vertumnus (Arcimboldo)|Vertumnus]]''. Painted against a black background is a portrait of [[Rudolf II, Holy Roman Emperor|Rudolf II]], whose body is composed of various vegetables, flowers, and fruits.<ref name=":7" /> The joke of the painting communicates the humor of power which is that Emperor Rudolf II is hiding a dark inner self behind his public image.<ref name=":7" /> On the other hand, the serious tone of the painting foreshadows the good fortune that would be prevalent during his reign.<ref name=":7" />

''Vertumnus'' contains various Mannerist elements in terms of its composition and message. One element is the flat, black background which Arcimboldo utilizes to emphasize the status and identity of the Emperor, as well as highlighting the fantasy of his reign. In the portrait of Rudolf II, Arcimboldo also strays away from the [[Realism (arts)|naturalistic]] representation of the Renaissance, and explores the construction of composition by rendering him from a jumble of fruits, vegetables, plants and flowers. Another element of Mannerism which the painting portrays is the dual narrative of a joke and serious message; humor wasn't normally utilized in Renaissance artworks.

<gallery widths="230" heights="230" perrow="4">
File:Jacopo Pontormo 032.jpg|[[Pontormo|Jacopo Pontormo]], ''Joseph in Egypt'', 1515–1518, oil on wood, 96 x 109&nbsp;cm, [[National Gallery]], London
File:Fontainebleau interior francois I gallery 02.JPG|[[Rosso Fiorentino]], Francois I Gallery, ''[[Palace of Fontainebleau|Château de Fontainebleau]]'', France
File:AN00056627 001 l Caraglio Juno in niche.jpg|[[Juno (mythology)|Juno]] in a niche, [[engraving]] by [[Jacopo Caraglio]], probably from a drawing of 1526 by Rosso Fiorentino
File:Bibliotekarien konserverad - Skoklosters slott - 97136.tif|[[Giuseppe Arcimboldo]], ''[[The Librarian (Arcimboldo)|The Librarian]]'', 1562, [[Skokloster Castle]]
File:Arcimboldo, Giuseppe ~ Autumn, 1573, oil on canvas, Musée du Louvre, Paris.jpg|Giuseppe Arcimboldo, ''Autumn'', 1573, oil on canvas, Louvre Museum, Paris
File:Vertumnus årstidernas gud målad av Giuseppe Arcimboldo 1591 - Skoklosters slott - 91503.jpg|Giuseppe Arcimboldo, ''Vertumnus the god of seasons'', 1591, [[Skokloster Castle]]
File:Angelo Bronzino 037.jpg|[[Bronzino]], ''[[Portrait of Bia de' Medici]]'', {{circa|1545}}
File:Alessandro Allori - Susanna and The Elders - WGA00186.jpg|[[Alessandro Allori]], ''Susanna and the Elders'', 1561
File:Elgreco.christ.200pix.jpg|[[El Greco]], ''Baptism'', {{circa|1614}}
</gallery>