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- Grand Manner refers to an idealized aesthetic style derived from classicism and the art of the High Renaissance. In the eighteenth century, British artists and connoisseurs used the term to describe paintings that incorporated visual metaphors in order to suggest noble qualities. It was Sir Joshua Reynolds who gave currency to the term through his Discourses on Art, a series of lectures presented at the Royal Academy from 1769 to 1790, in which he contended that painters should perceive their subjects through generalization and idealization, rather than by the careful copy of nature. Reynolds never actually uses the phrase, referring instead to the "great style" or "grand style", in reference to history painting: How much the great style exacts from its professors to conceive and represent their subjects in a poetical manner, not confined to mere matter of fact, may be seen in the cartoons of Raffaelle. In all the pictures in which the painter has represented the apostles, he has drawn them with great nobleness; he has given them as much dignity as the human figure is capable of receiving yet we are expressly told in Scripture they had no such respectable appearance; and of St. Paul in particular, we are told by himself, that his bodily presence was mean. Alexander is said to have been of a low stature: a painter ought not so to represent him. Agesilaus was low, lame, and of a mean appearance. None of these defects ought to appear in a piece of which he is the hero. In conformity to custom, I call this part of the art history painting; it ought to be called poetical, as in reality it is. Originally applied to history painting, regarded as the highest in the hierarchy of genres, the Grand Manner came thereafter also to be applied to portrait painting, with sitters depicted life size and full-length, in surroundings that conveyed the nobility and elite status of the subjects. Common metaphors included the introduction of classical architecture, signifying cultivation and sophistication, and pastoral backgrounds, which implied a virtuous character of unpretentious sincerity undefiled by the possession of great wealth and estates. If Roman sculpture and Italian Renaissance painting provided the gestures for the genre, it was the court portraiture of Peter Paul Rubens and Anthony van Dyck that came to exemplify the urbane portrait style practised by Reynolds, Thomas Gainsborough, and Pompeo Batoni, and then in the nineteenth and twentieth centuries by Sir Thomas Lawrence, John Singer Sargent and Augustus John. In the late nineteenth century the rhetoric of the Grand Manner was adopted not only by the nouveaux riches, but by ambitious middle class sitters as well. When especially ostentatious in presentation, typically in full-length works, this has also been referred to as the swagger portrait. (en)
- La grande maniera (ou Grand manner, Grand Style, maniera magnifica, grande manière) est un terme d'esthétique associé au peintre français Nicolas Poussin, qui, au cours des années 1640, définit sa façon de peindre. Selon lui, la peinture devait faire appel aux facultés intellectuelles et montrer les plus nobles actions humaines reposant sur les principes de raison et d'ordre.Cette locution italienne, attachée à la hiérarchie des genres, et au développement à la fois du classicisme, de la peinture baroque puis du néo-classicisme, allait s'épanouir notamment au travers du romantisme britannique en Angleterre, au cours du XVIIIe siècle. (fr)
- Il termine grande maniera si riferisce ad uno stile estetico idealizzato derivato dall'arte classica e l'"arte classica" moderna del Rinascimento. Nel XVIII secolo, gli artisti e gli intenditori britannici usarono il termine per descrivere quadri che incorporavano metafore visive al fine di suggerire nobili qualità. Fu Sir Joshua Reynolds che diede valore al termine attraverso il suo Discourses on Art, una serie di conferenze presentate alla Royal Academy (1769-1790), in cui sosteneva che i pittori avrebbero dovuto percepire i loro soggetti attraverso la generalizzazione e l'idealizzazione, piuttosto che con l'attenta copia della natura. Reynolds non usa mai in realtà la frase, riferendosi invece a great style o grand style, riferendosi alla pittura storica: In origine applicato alla pittura storica, considerata al più alto grado della gerarchia dei generi, la grande maniera venne poi applicata anche alla ritrattistica, con il soggetto raffigurato a grandezza naturale e in figura intera, in un ambiente che veicolata la nobiltà e lo stato d'élite dello stesso. Le metafore portarono all'introduzione dell'architettura classica, che significava al coltivazione della raffinatezza, e degli sfondi pastorali, che davano un carattere virtuoso di sincerità senza pretese e incontaminato dal possesso di grandi ricchezze e possedimenti. Se la scultura romana e la pittura rinascimentale utilizzavano i gesti per indicare il genere, fu la ritrattistica di corte di Pieter Paul Rubens e Anthony van Dyck che venne ad esemplificare lo stile del ritratto urbano praticato da Reynolds, Thomas Gainsborough e Pompeo Batoni, e poi, nel XIX e XX secolo, da Sir Thomas Lawrence, John Singer Sargent e Augustus John. Alla fine del XIX secolo, venne adottata la retorica della grande maniera non solo dai nuovi ricchi, ma anche dagli ambiziosi soggetti della classe media. Soprattutto quando ostentata nella presentazione, tipicamente in opere a tutta figura, era indicato come ritratto spavaldo. (it)
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- La grande maniera (ou Grand manner, Grand Style, maniera magnifica, grande manière) est un terme d'esthétique associé au peintre français Nicolas Poussin, qui, au cours des années 1640, définit sa façon de peindre. Selon lui, la peinture devait faire appel aux facultés intellectuelles et montrer les plus nobles actions humaines reposant sur les principes de raison et d'ordre.Cette locution italienne, attachée à la hiérarchie des genres, et au développement à la fois du classicisme, de la peinture baroque puis du néo-classicisme, allait s'épanouir notamment au travers du romantisme britannique en Angleterre, au cours du XVIIIe siècle. (fr)
- Grand Manner refers to an idealized aesthetic style derived from classicism and the art of the High Renaissance. In the eighteenth century, British artists and connoisseurs used the term to describe paintings that incorporated visual metaphors in order to suggest noble qualities. It was Sir Joshua Reynolds who gave currency to the term through his Discourses on Art, a series of lectures presented at the Royal Academy from 1769 to 1790, in which he contended that painters should perceive their subjects through generalization and idealization, rather than by the careful copy of nature. Reynolds never actually uses the phrase, referring instead to the "great style" or "grand style", in reference to history painting: (en)
- Il termine grande maniera si riferisce ad uno stile estetico idealizzato derivato dall'arte classica e l'"arte classica" moderna del Rinascimento. Nel XVIII secolo, gli artisti e gli intenditori britannici usarono il termine per descrivere quadri che incorporavano metafore visive al fine di suggerire nobili qualità. Fu Sir Joshua Reynolds che diede valore al termine attraverso il suo Discourses on Art, una serie di conferenze presentate alla Royal Academy (1769-1790), in cui sosteneva che i pittori avrebbero dovuto percepire i loro soggetti attraverso la generalizzazione e l'idealizzazione, piuttosto che con l'attenta copia della natura. Reynolds non usa mai in realtà la frase, riferendosi invece a great style o grand style, riferendosi alla pittura storica: (it)
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