JOHN SHEARMAN MANNERISM PDF

Michelangelo — Giorgio Vasari — Italian painter, architect, and biographer. Parmigianino — Italian painter. Term used in the study of the visual arts and by transference in the study of literature and music with a confusing variety of critical and historical meanings. The term is still applied mainly to Italian art and architecture, but it is also used of art in other countries. It was not until the 20th century—and particularly the period between the two world wars—that a more sympathetic attitude towards Mannerist art emerged, and the word began to be used neutrally, without the implication of decadence that it had long carried.

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Michelangelo — Giorgio Vasari — Italian painter, architect, and biographer. Parmigianino — Italian painter. Term used in the study of the visual arts and by transference in the study of literature and music with a confusing variety of critical and historical meanings. The term is still applied mainly to Italian art and architecture, but it is also used of art in other countries.

It was not until the 20th century—and particularly the period between the two world wars—that a more sympathetic attitude towards Mannerist art emerged, and the word began to be used neutrally, without the implication of decadence that it had long carried.

At this time, after the revolutionary achievements of early 20th-century art, Mannerist art was looked at with new eyes, and the work of artists who had long been ignored or disparaged began to seem exciting and original to modern taste.

The qualities associated with Mannerist art include tension, emotionalism, elongation of the human figure, strained poses, unusual or bizarre effects of scale, lighting, or perspective, and vivid—sometimes harsh or lurid—colours. Often the subject is approached in an unconventional way, with the artist drawing attention to his learning or virtuosity.

In the hands of the greatest Mannerist artists for example Pontormo or Parmigianino such preoccupations led to works that are not only highly sophisticated, but also powerful, disturbing, and moving. The work of less accomplished Mannerists for example Vasari as a painter often degenerated, however, into insipid or frenzied gesturing and grimacing.

With Mannerism no longer receiving blanket condemnation, more subtle issues occupied the minds of historians, for example to what extent the term could be applied to art outside Italy e.

El Greco in Spain, the School of Fontainebleau in France, and Hilliard in England or to architecture where what might be taken in one context as playful or capricious disregard for the rules of classical architecture might in another be seen as provincial clumsiness.

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John Shearman

He was born the son of an army officer and amateur painter in Aldershot , Hampshire, educated in Surrey at St Edmund's School, Hindhead , and Felsted School in Essex, and entered the Courtauld Institute in London in , where he was appointed a lecturer as soon as he graduated with a BA in — followed by a PhD in He had a research fellowship at Princeton University from , was Reader at the Courtauld from , and Deputy Director — before returning to Princeton, [4] where he was chairman of the art history department from to He had hoped for the Directorship of the Courtauld at the retirement of Anthony Blunt in but was not successful; [3] the medievalist Peter Lasko , who had administrative experience, got the appointment instead. In the absence of the works on Raphael and Quattrocento painting, the most widely influential work of his large output was his book, still in print, on the controversial concept of Mannerism. He was involved with the Italian and Vatican authorities on issues including the damage after the Flood of the River Arno in Florence and the Restoration of the Sistine Chapel frescoes , which he supported. He was married three times, in , , and , with four children by his first marriage, and died of a heart attack near Lethbridge, Alberta on a holiday in the Rocky Mountains.

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