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CLASSICAL RENAISSANCE (5) CHAPTER 10: THE RENAISSANCE WAY sixteenth

CHAPTER 10 THE RENAISSANCE WAY sixteenth S

Jacques rouveyrol

Renaissance classic Cinquecento has established a system representation based on:

-> A rational construction of space: perspective.

-> A return to antiquity:

- The ancient architecture,

- Sculpture Ancient

- The ancient mythology,

- Ancient philosophy (neo-Platonic).

is on all these aspects will be contesting Mannerist.

I. THE sprezzatura

Belteshazzar Castiglione, in his book It Cortegiano (1528) defines the attitude of the perfect courtier by this term: sprezzatura.Exactement is a "grace" which is that an action entirely artificial seems entirely natural. It is the art of concealing art. The supreme elegance. A kind of casualness that makes it seems to act with ease, ease, grace or naturel.La sprezzatura be the hallmarks of Mannerism. More than a contest of classicism, Mannerism itself as a Thurs the rules thereof. Use perspective, for example, to produce anomalous effects. Produce architectural subtle mistranslation (as opposed to traditional rules) just remarkable that only a curious, alert, intelligent, cultured (expert rule) be able to record and, thereby, to distinguish themselves from ordinary mortals. This is the most beautiful that research. It no longer enjoys the contemplation of eternal beauty. One enjoys a moment, the moment of discovery, more precisely: the discovery. As enjoys a joke (a find intellectual).

intellectual e )........................................ ................... . ................................................ ....................... Fontainebleau School

II. ARCHITECTURE

1.The classic style.

He returned to Bramante to codify the basics of classical architecture.

2.Still architecture, mannerisms will manifest itself as a game show is its consciousness of rules in the tricking.

a. Giulio Romano: Palazzo del Te in Mantua.

Here two things: a gap "abnormal" gears of the shrine and a "fall" of a triglyph which seems to detach of the apparatus of the entablature. Elsewhere on the facades facing the courtyard, alternating rough and smooth surfaces, shapes worked and others left in the rough. As "anomalies" in the construction or "damage" due to a time which has not yet expired.

The interior ( The Fall of the Giants) is not still that features a spectacular process of "destruction". As if anticipating the building on his own ruin.

b. Michelangelo: Library San Lorenzo in Florence

Here is the hallway that surprises with its unusual height, his staircase disproportionate. In the picture below, we see frail consoles that seem to support imposing columns. These same columns are as embedded in the wall which partly abolishes the impression of supporting feature that classicism instead put forward, ensuring the wall together, here, this function. The supports (pillars) that frame the windows blind expand upwards, do not base and are topped with capitals "too small".

c. Sansovino : Librairia Marciana à Venise

d . Le maniérisme en France sous François Premier

--> Le château de Blois

-->Le château de Fontainebleau : la glorification du roi.

Déjà, au siècle précédent, l'artiste qu'on attachait à sa cour constituait un principe de distinstion, un témoignage de son goût, de sa richesse.

That remains in the sixteenth century. But the artist must also "glorify" his "master", showing his power and greatness. That is what the Baroque (at the age of Louis XIV) resume.

........................................ ................... Galerie François 1er. Mannerist gardens

Mannerism is also expressed in the gardens. Random walk is an organized meetings all at that unusual. In Park Bormazo (Prato) we come suddenly to a leaning house , or a head monster whose open jaws called Gates of Hell . Here is a giant turtle , there a caparisoned elephant removing its trunk a soldier. Here, a forked tail siren , where the monstrous figure of God Evander or Dragon attacked by dogs. In the grotto of the Boboli Gardens in Florence, figures appear in calcareous concretions that appear to be naturally produced. In the Gardens of the Villa Demidoff (Prato) is a giant of eleven meters high, which sits on a "mountain" ( Appenninno Jean Bologna).

f. The grotesque

Mannerism is still grotesque. They are not associated with delirium of imagination or fantasy. This is the seventeenth (Descartes, Pascal) who sees in imagination a power of illusion. During the Renaissance, the imagination is a faculty of knowledge can reveal hidden similarities between leschoses. Able to think of possibilities that nature could achieve without being able to have, even without your knowledge or has not done for reasons unknown.

The release represents a grotesque (Francesco Doni Disegno 1549). We no longer imitates nature. We no longer reproduces its proportions. We can produce entirely new forms and beyond all measure. Where, again, the imagination becomes explore possible locked in that nature. Praise of the invention.
The grotesque is also the denial of perspective, the historia, expression and composition (as defined in the "window" Albertian) refusal even of rationality. In short, the rejection of classicism.

III. SCULPTURE

In the Middle Ages, sculpture, submitted to architecture, not outside the wall and holds it value. At the XV ° S born (reborn) the statue, free of the attraction of the wall which she managed to escape. But it is still linked to a functional context: a shrine, chapel, etc.. The statue with the acquired mannerism complete autonomy. It does more than its value itself. Than it is a work of art.

1. The tombs of Michelangelo.

Unrelated to the personality or the biography of the deceased, statuary acquired an independent value. Two of the four Captives (Louvre 1513-1515) were made for the tomb of Julius II. But detached from their context, removed from the project, they are worth, every man for himself, expressive statues completely autonomously.
On both tombs of Lorenzo and Giuliano de Medici: The Dawn and Dusk (Lawrence). Day and Night (Julian). These allegories are worth absolutely general and have no relation to Lawrence and Jules that to oppose death to life. Four days when the weather can stay its course. The statue of the Duke
Lawrence, even, does not reflect his features. It is not an effigy but ... a statue.

2. The report to the antiquity compete more than imitate.

Mannerism report leaves the imitation of antiquity. It will instead compete with it. Again the resemblance is less important than the demonstration of skill to make, for example, the cardinal virtues of the sovereign (see Benvenuto Cellini Bust of Cosimo first 1545-1547 Museo Nazionale del Barghello, Florence). This skill is of the order of sprezzatura . The artist is naturally gifted. Therefore it no longer seeks the imitation of the ancients.

3. The serpentine shape

Grace (the sprezzatura , always) involves the denial of gravity. Michelangelo invented the "serpentine" that mimics the movement of the flame. Elegance is not only in the ability of the artist to produce a beautiful work, it must pass through the work itself. The Victory Michelangelo's Palazzo Vecchio in Florence this manifests in the natural elegance twisting of the body that does rise as the flame. In stark contrast to the frontal Roman sculptures (some of which, however, the first Gothic, not lacking in elegance, it is true thanks precisely to their elongation: the statues of Chartres columns). We're here to Supplement the "axiality" rediscovered by the Renaissance.

...... .............................................. ....................................... Victory Michelangelo

At the same time, the artist shows his skill in making that his character can be seen from all sides at once, with this twist. We find this sort of "mannerisms" in Picasso's Cubism as when he "sculpts" (cutting) guitars visible from above, below, left and right or, after Cubism, where "twisting" the body a woman so they can be seen from every angle.

IV. PAINT

1. Space Mannerist

He returns to the picture plane (we saw this with the grotesque ) as in the International Gothic (But, unlike this one) by keeping the volume figures. It therefore removes the prospect and, rather than showing the depth, he suggests various ways:

-the admoniteur : a figure placed "before" which means the show to watch (which, in this way, lies "behind"). Parmigianino Vision of Saint Jerome (detail) 1527 National Gallery, London.

- figure in the foreground incomplete: the fact that the figure is cut down by the frame is the "before" and the rest, therefore, "Behind".

- Witness: from inside the action, it allows the viewer (control by definition) to identify and bring him to the canvas his own space (thus the depth). For example here: Raphael Expulsion of Heliodorus from the Temple 1511-1512 House of Heliodorus, Vatican.

....................................... .................................................. ..... Figures incomplete

2. Movement: the serpentine shape.

The beauty of the body has less to its proportions, its movement. In the latter returns only the grace (the sprezzatura), higher than mere beauty. This graceful movement expresses itself best in the serpentine form that takes two terms: a. The amphora

................................... .................................................. ...................... Pontormo Leda and the Swan 1512-1513

b. The contraposto

........................... Cornelis Cornelizs Susanna and the Elders Germanisches National Museum, Nuremberg

c. Longer body

.................................. ........ Parmigianino Madonna with the Long Neck 1532 (unfinished) Pitti Palace, Florence

3. The chromatic contrasts

Bright colors and contrasting acids. They come Miche Angelo (ceiling of the Sistine Chapel).

........................................ ........... Pontormo Deposition The 1527 Santa Felicita, Florence

4. The "exaggerations" or distortion.

They often result from exploitation to the extreme of the conventional rules of perspective. For example: the shortcut.

................................ Beccafumi Beccafumi The Fall of Rebel Angels (detail) 1527 Pinacoteca Nazionale

5. The horror vacui.

The classic rule defined by Alberti requires a simple and airy presentation that makes the historia readable. Be an uproar. Mannerism violates this rule, juxtaposes the near and distant, cancel intervals, filling the space of images, to tumult.

........................................ ................... Cornelis Cornelizs The Massacre of the Innocents

6. Consequence: setting the background of the historia (The Fire in the Borgo Raphael) or entry into the background of items unrelated to the historia (The Doni Tondo Michel Angelo). in Christ in the House of Martha and Mary Peter Aertsen (1552), almost the entire table is a still life. A background in the distance, the protagonists of the scene of the Gospel.

V. HOLIDAY

Maybe at parties even more than in architecture, sculpture and painting, that mannerism is its main religious festivals manifestations.Les certainly remain in the XVI ° S, but next grow grandiose secular parties, often at the city level. These are the inputs celebrating the arrival of the princes, the holiday court ( Magnificence of Fontainebleau, for example), celebrations of weddings and coronations.