Late

Renaissance

Group 5
DEFINITION :
 Mannerism comes from the Italian word maniera
means “style” or “manner”.

 Mannerism is a style emerged around 1520 to 1600

in Italy.

 By the end of High Renaissance. Young artists

experienced crisis. It seemed that everything that
could be achieved was already achieved.
Everything reached to perfection.

 The young artists needed new goal, and they sought new
approaches. At this point MANNERISM started to emerged.

 Distortion of elements such as proportion and space

Expressive forms of arts rather than classical forms

 Irrational spaces.
 MANNERISM STYLE
ARCIMBOLO, SPRING CELLINO, PERSEUS WITH
THE HEAD OF MEDUSA

 Mannerism style began in Italy, where the artists

were influenced by the figures that Michelangelo
painted on the ceiling and in the “Last judgement” in
the Sistine Chapel.

 Many artists then decided that they were going to

use the art of painting to “express themselves.”

 Mannerist paintings are often full of figures that

seem to be twisting, writhing or fighting.

The Mannerist style of painting or sculpture often

shows figures that are “elongated” and “distorted”.

The aim of the Mannerist artists was usually to make

art that looked “elegant”

PARMIGIANINO, THE MADONNA

WITH THE LONG NECK
 HISTORY: HISTORY:
HISTORY:
HISTORY:
During the Renaissance, the artists has given a high
regard with the classical antiquity and incorporated
the ideals of the romans and the greeks into their
work developing theories to create pieces of art
which for them is “perfect” obesssing over
proportion and symmetry. And after the masters, Da
Vinci, Raphael, and Michaleangelo, the next
generation of artists came into a dilemma; they could
not create a more perfect work of art. This began a
new revolution where the younger artists emerged
and started to do something new and different. They
rejected harmony and the ideal proportions favoring
irrational setting and artificial colors.

HISTORY HISTORY HISTORY HISTORY HISTORY HISTORY HISTORY

Architectural
Characters
1 DISTORTION OF ELEMENTS SUCH AS
PROPORTION AND SPACE:

a) the laurentian library

There are ambiguities of how to read the space,
which result from Michelangelo's playfulness with
the architecture itself. Columns lean back instead
of forward, and the corners come out toward you
instead of recessing.
1 DISTORTION OF ELEMENTS SUCH AS PROPORTION
AND SPACE:

b) palazzo massimo alle colonne:

•Its façade curves gently to follow a curving street.

•It has, in its ground floor, a dark

central portico running parallel to the street, but as
a semi enclosed space, rather than an
open loggia.

•Above this, three undifferentiated floors rise, the

upper two with identical small horizontal windows
in thin flat frames that contrast strangely with the
deep porch, which has served, from the time of its
construction, as a refuge to the city's poor.
1 DISTORTION OF ELEMENTS SUCH AS
PROPORTION AND SPACE:

c) villa farnese
 Ornamented to achieve proportion and
harmony.
 Plans were built for a pentagon constructed
around circular colonnaded courtyard.
 Niches containing busts of the Roman
emperors
1 DISTORTION OF ELEMENTS SUCH AS
PROPORTION AND SPACE:

d) st. peter’s basilica

The great central dome was executed toward the end of
the 16th century by Michelangelo’s follower, Giacomo
della Porta, who gave a more vertical expression to the
dome by raising it about 25 feet (8 metres) higher than a
semicircle. In the early 17th century, the Baroque
architect Carlo Maderno added a large nave and
facade to the front of the church, converting it into a
Latin cross plan and destroying the dominating quality of
the dome, at least from the exterior front.
ABSTRACTION OF ORDERS AND
THE USE OF PILASTERS:
Extending beyond limits in a separated way
2
thus each extended element as its own identity.

a) Villa Farnesina
Villa Farnesina of 1509 is a very
regular monumental cube of two
equal stories, with the bays
articulated by orders of pilasters.
 ABSTRACTION OF ORDERS AND
THE USE OF PILASTERS:
Extending beyond limits in a separated way
2
thus each extended element as its own identity.

b) Palazzo del Te
The columns have been given a very
rough surface treatment that perhaps
seems out of place, common
throughout
ABSTRACTION OF ORDERS AND
THE USE OF PILASTERS:
Extending beyond limits in a separated way
2
thus each extended element as its own identity.

Corinthian order in entire

exterior
Texture: White stucco and grey
stone

c) San Giorgio Maggiore

This church make it as a Mannerist style
Because of how the façade is organized
and the strange design of interiors.
The façade is made of 2 layers:
1) Façade that is placed on pillars
and breaks the space of the
Long triangular pediment it contains.
nave
2) The interior, often flattened
pilasters are combined with
engaged double columns in odd
grouping which are bit unusual.
3 Rustication
Relied in exterior through chiseled
texture exposed brick/ stonework

Casa di Giulio Romano

Giulio Romano learnt architecture the
Same way he learned painting, as an
Increasingly trusted assistant to Raphael,
Who was appointed the papal architect
In 1514, and his early works are very
much in Raphael’s style.
 4 Antistructuralism
Not using the structure for what it stands for

portico

pillars
Central area under the
dome being the grandest
symmetric building

Villa rotonda
Private villa (Home) is designed according
to the basic schema of a central church
much like pantheon
It includes 4 porticoes facing each of the
Compass points. Designed to have a clear
view of the land.
Another change to the central church plan
Is proliferation of windows and arches
Throughout the structure which light the
Interior of the building.
 4 Antistructuralism
Not using the structure for what it stands for

Palazzo Caprini
It was a Renaissance palace in Rome,
Long Italy, in Borgo rione between Piazza
nave Scossacavalli and via Allessandrina.
It was designed by Donato Bramante
round 1510.
5 Exaggeration and
Dismemberment
Extending beyond limits in a separated way
thus each extended element as its own identity.

Celejowska Townhouse, Poland

It was built of limestone most probably
in the 16th century for a wealthy
merchant.
 Notable
Architects
MICHAELANGELO
Michelangelo di
LodovicoBuonarrotiSimoni (1475-1564),
commonly known as Michelangelo of
Florence, is an Italian Renaissance sculptor,
poet, painter, and architect.

He studied and incorporated styles in

Florence and Rome, and applied his
extensive trainings as an artist and sculptor
on his designs.

This made his architectural designs

distinctive from the standard designs of his
age and his archetypal Renaissance rivals.
 Architectural works:

laurentian library

porta pia

st. peter’s basilica

 GIULIO ROMANO
 Giulio Romano (1492 –1546) also called
Giulio Pippi and Giulio di Pietro di Filippo
de Gianuzzi, is an Italian Renaissance artist
and architect.

 Initiator of the Mannerist style.

After Raphael's death, Giulio completed a

number of his master’s unfinished works
including the Transfiguration.

 This influenced his architectural style in

the Mannerist movement.
 Architectural works:

Villa Madama Villa Lante al Gianicolo

•Palazzo MaccaraniStati
ANDREA PALLADIO
 Andrea Palladio or Andrea di Pietro della
Gondola is an Italian Renaissance architect
in the Venetian Republic widely considered
as the most influential in the history of
architecture.

 His learning were compiled in his

architectural treatise The Four Books of
Architecture.

 Palladio focused mainly on country house

designs and villas, although he had also
designed churches and palaces.
 Architectural works:

Church of the Santissimo Redentore

Villa la Rotonda Palladian Basilica

 BALDASSARE PERUZZI
 Baldassare Peruzzi or Baldassare
Tommaso Peruzzi is a Sienese architect and
painter who attempted to extend
architecture into imaginary space as an
illusionary architecture.

 Peruzzi was a contemporary of Donato

Bramante, Raphael, and Sangallo.

 After Raphael's death, Peruzzi also took

over to the construction of St. Peter's
Basilica in Rome. In 1532, Palazzo Massimo
alleColonne, his most popular edifice, had
begun its construction.
 Architectural works:

Palazzo Massimo alle Colonne Villa Farnesina

GIACOMO DA VIGNOLA

 Giacomo da Vignola, also goes by the

name Giacomo Barozzi da Vignola and often
called Vignola, is an Italian architect.

 He was one of the initiators and the

greatest architects of Mannerist
Architecture, along with Sebastian Serlio
and Andrea Palladio.

 Vignola also worked with Michelangelo

who greatly influenced Vignola in his style
 Architectural works:

Palazzo Farnese

Villa Giulia Villa Farnese