Editing Mannerism (section)

==Spread ==
[[File:Henry Howard Earl of Surrey 1546.jpg|thumb|upright=1.2|English Mannerism: [[Henry Howard, Earl of Surrey]], 1546, a rare English Mannerist portrait by a Flemish immigrant]]

The cities Rome, Florence, and Mantua were Mannerist centers in Italy. [[Venetian painting]] pursued a different course, represented by [[Titian]] in his long career. A number of the earliest Mannerist artists who had been working in Rome during the 1520s fled the city after the [[Sack of Rome (1527)|Sack of Rome]] in 1527. As they spread out across the continent in search of employment, their style was disseminated throughout Italy and Northern Europe.{{sfn|Briganti|1962|pp=32–33}} The result was the first international artistic style since the [[Gothic art|Gothic]].{{sfn|Briganti|1962|p=13}} Other parts of Northern Europe did not have the advantage of such direct contact with Italian artists, but the Mannerist style made its presence felt through prints and illustrated books. European rulers, among others, purchased Italian works, while northern European artists continued to travel to Italy, helping to spread the Mannerist style. Individual Italian artists working in the North gave birth to a movement known as the [[Northern Mannerism]]. [[Francis I of France]], for example, was presented with [[Bronzino]]'s ''[[Venus, Cupid, Folly and Time]]''. The style waned in Italy after 1580, as a new generation of artists, including the [[Accademia degli Incamminati|Carracci]] brothers, [[Caravaggio]] and [[Cigoli]], revived naturalism. [[Walter Friedlaender]] identified this period as "anti-mannerism", just as the early Mannerists were "anti-classical" in their reaction away from the aesthetic values of the High Renaissance<ref name=":8" />{{Rp|page=14}} and today the Carracci brothers and [[Caravaggio]] are agreed to have begun the transition to Baroque-style painting which was dominant by 1600.

Outside of Italy, however, Mannerism continued into the 17th century. In France, where Rosso traveled to work for the court at [[School of Fontainebleau|Fontainebleau]], it is known as the "[[Henry II style]]" and had a particular impact on architecture. Other important continental centers of [[Northern Mannerism]] include the court of [[Rudolf II, Holy Roman Emperor|Rudolf II]] in [[Prague]], as well as [[Haarlem]] and [[Antwerp]]. Mannerism as a stylistic category is less frequently applied to [[England|English]] visual and decorative arts, where native labels such as "[[Elizabethan]]" and "[[Jacobean era|Jacobean]]" are more commonly applied. Seventeenth-century [[Artisan Mannerism]] is one exception, applied to architecture that relies on pattern books rather than on existing precedents in Continental Europe.{{sfn|Summerson|1983|pp=157–172}}

Of particular note is the Flemish influence at Fontainebleau that combined the eroticism of the French style with an early version of the [[vanitas]] tradition that would dominate seventeenth-century Dutch and Flemish painting. Prevalent at this time was the ''pittore vago'', a description of painters from the north who entered the workshops in France and Italy to create a truly international style.