Mannerism

Tafuri published L’architettura del manierismo (1966) in a moment of disciplinary uncertainty in which the historian’s responsibilities to knowledge and society were by no means regarded with clarity. At Venice, Bruno Zevi had until 1963 (and his move to Rome) propagated an idea of history as a repository of lessons to be read in a contemporary key, exploring the twentieth-century legacies of historical figures to project their prescience and enduring utility. The sixteenth century was, consequently, held as a moment of crisis resonating with those of the post-war era: both moments sustaining a loss of universal certainties and loosing, too, a sense of what architecture could offer society as a whole. From the very beginning of the book Tafuri positioned Zevi’s easy parallelism as a source of crisis in architecture’s historiography—a criticism that ran deep in his reading not only of Zevi’s work, but of the entire Crocean tradition in which the legitimacy of historical subjects was tested against their contemporary value. The “moral and political” crisis (as he put it) inflecting architecture as a result of the tumultuous decade bookended by Luther in Wittenburg and the Duke of Bourbon in Rome was Zevi’s subject. Tafuri rendered this as a basic error in architectural history’s purported mission, which he addressed in L’architettura del manierismo by weighing up an intellectual inheritance drawn from the histories of art and architecture. Out of this emerges a sense of architectural history as a disciplinary effort, held together on terms that parallels his analysis of mannerist architecture as a body of work and thought that in its unity overcame its internal oppositions. This is not yet the Tafuri of Teorie e storia dell’architettura, which he would immediately go on to write, but it contains the disciplinary germs of the problems and paradoxes that would define his contribution to the historiography of architecture.

Manfredo Tafuri’s 1966 book L’architettura del Manierismo nel Cinquecento europeo is an early and oft-overlooked instance of his decades-long inquiry into the architectural history of early modern Italy. Read today, it comes across as both an imperfect attempt at a scientific treatment of his subject and an engaged plea for a new orientation in the historiography of architecture. Leach presents a brief guide to this book, acknowledging its relationship with more widely read works on the problem of doing history in the architectural culture of the nineteen-sixties and making the case for its importance for contemporary reflections on the relationship between architecture’s past and present.

Intensa y abstracta, ornada y esencial, la «Alegoría con Venus y Cupido», de Bronzino, transforma el deseo y el miedo, el deleite y el sufrimiento, en una refinada experiencia estética en la que los valores morales han sido subyugados por los valores artísticos.

This essay examines one aspect of Giuseppe Arcimboldo's portraiture: His genre depictions where he expands the art of illusionism or magic visualization into grilli (intellectual whims) and teste composte (composite heads). These images of reversible portraits of genre scenes, caricatural conceits, and visual puns are seen in The Cook or The Chef reversed as The Bowl of Meats of 1570 at the Nationalmuseum, Stockholm; The Vegetable Gardener reversed as The Bowl of Vegetables of 1590 at the Museo Civico "Ala Ponzone", Cremona; and Il Frutaio, The Fruit Vendor reversed as The Basket of Fruits of 1591, at the French & Company Gallery in New York. In his imagery, Arcimboldo focuses on the paradoxical meaning of objects, "what if?" adding a sense of ambiguity and mystery to his art. Is Arcimboldo teasing the viewer with a Mannerist flare, or is he composing or implying another type of intellectual conceit? Ultimately, Arcimboldo invents a new type of genre: the emblematic humorous portrait.

Resumo: O Maneirismo artístico se destaca como uma revisão estética do Renascimento em suas décadas finais. O ideal de equilíbrio e simetria do período foi substituído por uma visão deturpada e dramática da realidade. De forma específica a música, temos os madrigais compostos pelo italiano Carlo Gesualdo (1566-1613) com sensíveis aproximações com esta estética. Baseado nesta premissa, o presente artigo identifica e analisa três características do Maneirismo no madrigal Io Parto do compositor com o intuito de melhor entender esta aproximação estilística. Abstract: The artistic mannerism stands out as an aesthetic revision of the Renaissance in its final decades. The ideal of balance and symmetry of the period was replaced by a distorted and dramatic view of reality. Specifically in the music, we have the madrigals composed by the Italian Carlo Gesualdo (1566-1613) with sensitive approximations with this aesthetic.Based on this premise, this paper identifies and analyzes three characteristics of Mannerism in the madrigal Io Parto of the composer in order to better understand this stylistic approach.

“Power and Privilege,” 50th anniversary review of Complexity and Contradiction in Architecture by Robert Venturi, Journal of the Society of Architectural Historians 75:4 (December): 497-498.

"To the extent that we do keep rereading Complexity and Contradiction, we should situate the book within a history of privilege that skews architectural knowledge, excludes a wide range of perspectives, and alienates people who might otherwise engage with our discipline. Intersectional analysis can help us not only to better understand books like Complexity and Contradiction and buildings like Wu Hall (the kitchen and scullery as much as the en-try and dining halls) but also to challenge the reproduction of power and privilege."

HR
Rad analizira inventorski opus šibenskog bakroresca Martina Rote Kolunića, čije je
razdoblje umjetničkog stvaralaštva trajalo od dolaska u Veneciju 1565. godine do smrti u
Pragu 1583. Rasprava o odnosu protureformacijske misli i manirističke likovnosti uvertira je
u interpretaciju istih na reprezentativnim primjerima Rotinih inventorskih bakroreza. Posebna
pažnja je posvećena identifikaciji utjecaja u vidu tehničkih postupaka koji su karakteristični
za majstore na koje se Rota ugledao, poput Giovannija Battiste Franca i Cornelisa Corta. Uz
interpretaciju grafičkih listova sakralne ikonografije, rad se bavi i listovima alegorijske
ikonografije te dekoracijom portretnih okvira. Martin Rota Kolunić inventorskim je opusom
stekao ugled obrazovanog umjetnika čiji izraz uspješno balansira između pučki-popularnog
aspekta grafike i elitističkog senzibiliteta visokog manirizma.

EN
This paper analyzes the inventive oeuvre of a Sibenik-born engraver Martin Rota
Kolunic, whose creative period started with his arrival to Venice in 1565. and ended with his
death in Prague in 1583. A discussion about the relation of Counter-Reformation and
mannerism serves as a prelude to the interpretation of representative examples of Rota's
inventive engravings. Special attention was devoted to identifying influences based on
technical procedures specific to masters who inspired Rota, such as Giovanni Battista Franco
and Cornelis Cort. This paper examines Rota’s sacral and allegorical engravings, as well as
examples of decoration for portrait frames. With his inventive oeuvre, Martin Rota Kolunic
has gained a reputation of an educated artist whose expression successfully balances the
widely popular aspect of graphic production and the elitist sensibility of the high maniera.

Although his celebrated pupils, Guido Reni, Francesco Albani and Domenichino, flourished in the Eternal City, during his lifetime the Antwerp-born painter and draughtsman Denys Calvaert (c.1540–1619) probably visited Rome only once, between 1573 and 1576. While Calvaert’s sojourn in Rome is recorded in documents and early sources, the evidence of his artistic activity is rather meagre, which has led to some misinter- pretations and chronological confusions. The discovery of a group of drawings that can be confidently attributed to Calvaert and precisely dated to his years in Rome adds visual substance to documenting the artist’s presence in the city, which was crucial for his training as a draughtsman and his future development as an artist.

Uno degli eventi artistici più importanti ed emozionanti della storia dell'architettura rinascimentale fu sicuramente il concorso del 1518 per la costruzione di San Giovanni dei Fiorentini in Roma, indetto da Papa Leone X. Tale competizione divenne un crogiolo di idee ed esperienze per i diversi maestri che vi parteciparono. Del progetto di Raffaello ci rimane un solo disegno, probabilmente eseguito dal giovane allievo Giulio Romano. In questa ricerca, frutto di una tesi di laurea (relatori prof.ssa Manuela Morresi e prof. Alberto Sdegno - Università IUAV di Venezia, a.a. 2016-2017), si ripercorre la genesi del progetto, assimilando la logica del progettista, in modo tale di risolvere le numerose lacune di un progetto non giunto nella sua completezza descrittiva. L’osservazione diretta del documento, con scoperte e approfondimenti rivelatrici, insieme al disegno digitale tridimensionale, consentono di sviluppare un modello tridimensionale virtuale che lo rappresenti adeguatamente, verificandolo e mettendo in luce problematiche mai esplorate e avvalorando l’attribuzione alla bottega raffaellesca.

Anna Licia Gagliardo affronta con acume nel suo studio l'analisi comparativa tra i differenti modi impiegati da Castello e da Tempesta nel comporre le scene raffiguranti gli episodi del poema; individuando nel primo una generale tendenza a presentarli nel loro svolgimento; nel secondo la propensione verso una migliore vena descrittiva, riguardo in specie alle scene di combattimento, e la maggiore adesione al testo sia nell'ambientazione che nella scelta dei luoghi.

The first section of this essay deals with an iconographical analysis of Lavinia Fontana's (1552-1614) Prudence or Personification of Wisdom of 1590, while the second part provides an iconological interpretation, demonstrating Fontana's application of emblematic significations. This painting is presently on display at the Galerie Maison d'Art in Monte Carlo. At this time there is lack of knowledge about the patronage of this commission, except from the art gallery's records showing that it acquired the painting from a private collection in New York. 1

Paper published in: T. Weddigen, S. de Blaauw, B. Kempers & A. Roth (eds.), Functions and Decorations: Art and Ritual at the Vatican Palace in the Middle Ages and the Renaissance (Capellae Apostolicae Sixtinaeque Collectanea Acta Monumenta, 9), Rome (Bibl. Apostolica Vaticana) / Turnhout (Brepols) 2003, 153 – 168

The first part of this essay deals with Giorgio Vasari's conception of architecture in sixteenth-century Italy, and the second part examines Vasari's practical application of one of his constructions, the loggia (open gallery or arcade) or corridoio (corridor). The essay also discusses the merits of Vasari's open gallery (loggia) as a vernacular architectural construct with egalitarian functions and Vasari's principles of architecture (design, rule, order, and proportion) and beauty (delight and necessity) for the formulation of the theory of art in Mannerism, a sixteenth-century style of art.

This book is a translation of Ibn ʿAqīl al-Ḥanbalī’s (d. 513/1119) essay on Islamic manners, Fuṣūl al-ādāb wa makārim al-akhlāq al-mashrūʿa. It presents a significant number of commendable etiquettes Muslims are required to observe for everyday living and dealings. Ibn ʿAqīl’s essay is considered to be the shortest, and the earliest extant work from the Ḥanbalī school on Islamic manners. The language employed in the translation has been kept simple, straightforward, and modern to make the work accessible to everyone. This bilingual edition, with its parallel Arabic text, will allow readers to access the original Arabic and hopefully help with vocabulary building, oracy, and future translations. In Islam, good manners (ādāb) are required and admired; and it’s developed through study and practice. It is hoped the translation, Ibn ʿAqīl al-Ḥanbalī’s essay on Islamic Manners becomes a means to refine manners better.

Available here: https://daralarqam.bigcartel.com/product/essay-on-islamic-manners

Estudo de uma crónica agostiniana da autoria de Fr. Diogo de Sant'Ana, bem como de outras fontes inéditas dedicadas ao Mosteiro de freiras agostinhas de Santa Mónica, em Goa, analisando-se a partir dessa base manuscrita as campanhas artísticas realizadas entre 1611 e 1639 nesse grande cenóbio da capital do Estado Português da Índia -- fundado pelo Arcebispo Primaz das Índias D. Frei Aleixo de Meneses, em 1606, e considerado o maior mosteiro de freiras no Oriente -- com ênfase no ciclo de pinturas murais que decoram o claustro, o antigo coro baixo e algumas capelas e altares, que formam um dos mais interessantes conjuntos artísticos indo-portugueses do século XVII subsistentes.

Much information about, and even the canon of Mikołaj Sęp Szarzyński’s works (? – 1580) still remain probable but not fully ascertained. The little book published twenty years after his death, Rytmy, a single copy of which survives – it was found accidentally in the early 1800s – represents his uncertain legacy. Yet not only Sęp is the greatest pre-modern Polish poet after Kochanowski, but, due to his sonnets and other compositions of his early maturity, he can be considered the creator of a new style that, under the influence of late Italian Petrarchism, brings Polish poetry closer to mannerism and, for some commentators, to baroque. This essay focuses in particular on sonnet 3, "To the Most Holy Virgin ". While revealing many connections with Dante and Petrarca, it takes on themes and styles of the Spanish Marian literature that was almost contemporary with the young author. This poem constitutes the cornerstone of a sonnet cycle (the first in Polish literature) that marks the artistic culmination of a “passage” to modernity, in which an attitude of doubt and the attendant "grammar of uncertainty" (J. Błoński) become the writer’s main stylistic and existential signature.

Con questo elaborato si intende presentare una visione sul madrigale (con un sommario excursus evolutivo) in una prospettiva dedicata in particolare a quelle modalità rappresentative specifiche chiamate madrigalismi. I madrigalismi abbracciano un insieme complesso e variabile di costanti che li rendono ancora sfuggevoli a una definizione univoca e onnicomprensiva. Si ragionerà perciò sulle loro definizioni arrivandoci dal concetto di imitazione – non nuovo in ambito retorico e neppure sconosciuto alle discipline visive, le quali operano essenzialmente sulla rappresentazione mimetica della natura e della realtà. Per questo motivo si è scelto di iniziare la riflessione mettendo in parallelo le due prospettive sull’imitazione nelle arti visive e nell’arte musicale, partendo dal termine vasariano di maniera. Le similitudini sono notevoli, a partire dal medesimo contesto storico-sociale, fino ad analoghi appelli per un ribaltamento del ruolo dell’espressività comunicativa contro un sistema imposto di regole e divieti.

The aim of the article is to organize the current state of research and attribution to carry out a new formal and genetic analysis. In the case of the palace in Kielce we can reconstruct the constructing works and determine the names of performers. Builders and decorators of the headquarters of bishops were employees of workshops from the sculpture centre in Chęciny and masons from the former province of Sandomierz and Cracow. The source of inspiration for the residence was the project of Villa Pisana in Montagnana by Andrea Palladio. Previous suppositions that the author of the palace project in Kielce was Tomasz Poncino must be rejected in favor of Giovanni Trevano.

In 1525, Isabella d’Este’s son, Federico, commissioned architect Giulio Romano to build him a pleasure palace at the family’s stables at the south end of Mantua. Giulio took the mantle of Mannerism from the late Andrea Mantegna and created a masterwork of iconographically rich trompe l’oeil frescoes on the interior surfaces. Two of the corner rooms are particularly significant, the lyrical room of Amor and Psyche, and the Room of the Fall of the Giants, which depicts a massive architectural collapse. The palace’s outer walls manifested a bizarre articulation — including falling triglyphs and rising keystones — that scholars have debated the meaning of for years. This essay shows the complex interconnections within the complex, the city, and the Roman classical heritage, by which these façades form a manifesto, in which Giulio Romano confronts the meaning of architectural language as well as the role of the architect as intermediary between Form and Matter.

O antigo mosteiro cisterciense de N.ª Senhora do Desterro, apesar das vicissitudes que sofreu e da obscuridade em que permaneceu a história da sua construção permanece, ainda hoje, como um marco arquitectónico fundamental na imagem da cidade de Lisboa. Em boa parte poupado pelo Terramoto, os estragos a que foi sujeito desde o final do séc. XIX ao início do XX, devem-se sobretudo à acção humana. Décadas de incúria e delapidações sucessivas, conduziram a uma descaracterização progressiva a que não foi também alheia a própria transformação em hospital, traduzida em alterações profundas de adaptação pouco adequadas ao edifício.
Contudo, bem longe da imagem que vulgarmente dele se transmite, o antigo Mosteiro do Desterro constitui, apesar do estado fragmentário a que chegou aos nossos dias, um raro testemunho da nossa mais qualificada arquitectura tardo-clássica, fazendo parte dos grandes complexos monástico-conventuais construídos no período filipino (1580-1640).
O presente artigo pretende, além de comprovar a autoria do arquitecto Baltazar Álvares, dar a conhecer, a partir das fontes documentais, o processo construtivo do mosteiro e alguns aspectos desconhecidos do seu projecto. Nomeadamente, as influências da traça erudita da fachada (derivada de um desenho de Rafael para a Villa Madama incluído no tratado de Serlio) e as características peculiares dos espaços monásticos, como os claustros, impostas pela topografia acidentada do terreno.

This is a threefold transcription of Baude Cordier's "circle canon," two versions in rondeau form and one in perpetual canon. Included with the music transcriptions are full translations from Medieval French to English of all the accompanying texts as well as an English text underlay for the music.

Also included is a full explanation of the various mensurations and colorations that appear in the piece.

The design of the scores attempts to illustrate the rondeau form overlaying the canonic conceit.

For a score animation with the transcription and original manuscript, see this link:
https://www.youtube.com/watch?v=iaeOWdXM4Pg

Here we evaluate the reception of Michelangelo's genius as a matter of sacred behavior on the part of numerous contemporaries, who treated Michelangelo's drawings as relics belonging to the entirety of his work. Just as a relic confirmed its sacred origin within the reliquary, so too did Michelangelo's adepts borrow from his art with the tacit understanding that the final, resulting work would resemble Michelangelo's art and relay creativity in the sacred ways of relic dissemination.

There are conspicuous parallelisms —and symmetries— between the scholarly fates of Walter Benjamin and Arnold Hauser. While the first failed to attain any sort of success during his lifetime, the latter’s instant widespread diffusion went hand in hand with an ambiguous academic reception. However, if Benjamin posthumously grew to become a major author, Hauser remained an outsider, whose figure has faded and re-emerged with dubious fortune. In spite of opposite lucks, both authors were marked by a strong anti-positivistic attitude which sought to establish a distinct methodology for the social sciences, striving to understand the present through art criticism. Departing from broad considerations of their philosophical backgrounds, this paper will further illustrate their similarities and differences by examining shared accusations that weight on them: their controversial forms of Marxism point to a conception of art criticism that handles historical narrative as myths, rendering their methods close to psychoanalytical dream interpretation.

This  essay  does  not  strive  to  give  a  comprehensive review  of  literature  on  Antwerp Mannerism, but rather to summarize the focal points of discussions and to outline key roadmaps for further studies.
The majority of scholars consider Antwerp Mannerism as a late Gothic style influenced by Italian Quattrocento. Its genesis, however, remains a subject of hot debates. If Hoogewerff argued on  the  German  origins,  Vandenbroeck  attributed  it  to  an  inflow  of  provincial  artists.  Whatever were the origins, Expressionist shapes were not inherent to the early Netherlandish painting and the  attempt  to  fuse  them  with  ‘realism’  of  the  Flemish  Primitives  seemed  a  revolutionary breakthrough following the pictorial crisis of the 1480s.  Despite a rift in chronology, Antwerp Mannerism has irrefutable similarities with the later Italian Mannerism. Thus exploration of intellectual and religious context of early sixteenth-century Antwerp art similar to Max Dvořák’s approach can be another direction for further research of the Italian and Spanish Mannerism.  The subject matter of Antwerp Mannerist art, too, remains largely unexplored. Dan Ewing’s breakthrough  essay  showed  that  the  changes  in  iconography  (such  as  reinvention  of  the  well-known  subject)  could  mark  shifts  in  identity.  By  no  means  they  are  merely  ‘anecdotic’  as  Paul Philippot stated. What subjects were popular beyond the Adoration of the Magi and why? Were there  any  secular  subjects?  How  did  the  iconography  of  Antwerp  art  reflect  the  intersection  of different Netherlandish schools of art? How did later artists incorporate the pictorial inventions of the  Antwerp  Mannerists?  Finding  an  answer  to  these and  similar  questions  can  provide  a  rich context for further studies on this ‘contrived’ but unique style. Keywords: Mannerism, Antwerp, Max Friedländer, Gothic Mannerism, Renaissance.

By deliberately numbering  sonnets 12, 60 and 126 of his sequence Shakespeare emphasised his repeated poetic stands against the destructive effects of Time. In doing so he displayed characteristics which had been displayed in Renaissance, Mannerist art and followed numerological precedents which were present in Renaissance literature.

Il 𝑃𝑒𝑟𝑠𝑒𝑜 di Cellini è una celebre opera d'arte, commissionata all'autore dal duca (poi granduca) Cosimo de' Medici per celebrare il suo trionfo a Firenze contro le fazioni nemiche.
Strumento di questo trionfo è l'harpe, arma della Classicità che può essere identificata con la rinascimentale storta, anch'essa atta a recidere come l'harpe e dunque perfetta per rappresentare il taglio netto col passato voluto da Cosimo: la trasformazione dalla repubblica fiorentina al principato mediceo.
Lo stesso Cosimo possedeva due storte, una attualmente conservata alla Wallace Collection e l'altra al Museo del Bargello.
Nel presente studio, viene analizzato il rapporto di Cosimo con la storta, sia per quanto riguarda la cultura figurativa sia quella materiale.

This study is devoted to the emotional experience of the famous Renaissance sculptor, goldsmith, and writer, Benvenuto Cellini (1500–1571), as it is portrayed in his life writing, the Vita. Providing the variety of arguments on the connection between the artist and contemporary intellectuals, who attended the Florentine Academy (1540–1583) together, I demonstrate that Cellini’s literary production can be examined productively against the background of Neoplatonic thought. In particular, Marsilio Ficino’s On Love, first published in the vernacular Italian in 1544, helps to establish an explanation of what Cellini meant when he decided to play the cornet while falling in love simultaneously with a young boy and girl, or  how he justified kicking or punching his servants, or why he did not kill his adversary, the artist Baccio Bandinelli, when he had the chance. These cases of radical affectivity are inscribed into Ficino’s concept of the “melancholy genius” manifesting melancholic madness. In Cellini’s Vita, the latter can not only turn humans almost into beast, literally (for example, in a bat); but, properly tempered by the means of music and poetry, as well as of individual and collective magic, it elevates one’s soul “on high,” which corresponds to the Neoplatonic concept of divine madness.
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Table of Contents
Introduction
Chapter 1.  Benvenuto Cellini and the Florentine Academy
1.1 Why did the Italian academies emerge?
1.2 Academic movement before the Florentine Academy
1.3 The Florentine Academy
1.4 Benvenuto Cellini’s writings in the context of the Florentine Academy
Chapter 2.  “Essendo io per natura malinconico”: Benvenuto Cellini and the Ficinian Legacy
2.1 “Grand theories” and “grounded” early-modern artists
2.2 Marsilio Ficino’s On Love
2.3 “Melancholy genius” concept
2.4 (Neo)Platonic love
Chapter 3.  “Tu ten sei gito a contemplar su ’n Cielo l’alto Fattore”: Benvenuto Cellini Ascending on High
3.1 Esoteric knowledge and censorship
3.2 “Furor divino” and “diabolico furore”
3.3 Different kinds of furor divino in the Vita
Conclusion