Shearman was the son of Charles E. Shearman, a British army brigadier and amateur painter, and Evelyn White Shearman. He became a painter of naturalistic landscapes and seascapes. Shearman entered the Courtauld Institute, University of London, in , where he studied art history under Vienna expatriate Johannes Wilde q. Wilde imparted to Shearman his technique of using a variety of physical evidence to interpret art.

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The artist was now no longer just a trained member of a local Guild of St Luke. Now he took his place at court alongside scholars, poets, and humanists, in a climate that fostered an appreciation for elegance and complexity. As a mere frame it is extravagant: Mannerist, in short. Iconography, often convoluted and abstruse, is a more prominent element in the Mannerist styles.

His less practical and more metaphysical Idea del tempio della pittura The ideal temple of painting, Milan, offers a description along the lines of the " four temperaments " theory of human nature and personality, defining the role of individuality in judgment and artistic invention. Characteristics of artworks created during the Mannerist period[ edit ] Mannerism was an anti-classical movement which differed greatly from the aesthetic ideologies of the Renaissance.

Below is a list of many specific characteristics that Mannerist artists would employ in their artworks. Elongation of figures: often Mannerist work featured the elongation of the human figure — occasionally this contributed to the bizarre imagery of some Mannerist art. However, the idea of perfection sometimes alluded to the creation of unique imagery. One way in which distortion was explored was through the technique of foreshortening. At times, when extreme distortion was utilized, it would render the image nearly impossible to decipher.

Black backgrounds also contributed to a creating sense of fantasy within the subject matter. Notably, special attention was paid to torch and moonlight to create dramatic scenes. As a result, Mannerist artists often based their depictions of human bodies in reference to sculptures and prints. This allowed Mannerist artists to focus on creating dimension. The outlines of figures often allowed for more attention to detail.

Instead, there was an emphasis on atmospheric effects and distortion of perspective. The use of space in Mannerist works instead privileged crowded compositions with various forms and figures or scant compositions with emphasis on black backgrounds. These positions often anticipate the movements of future positions because of their often-unstable motions figures. This is at times prevalent when there is special attention paid to ornate detailing.

Many artworks toyed with pure and intense hues of blues, green, pinks, and yellows, which at times detract from the overall design of artworks, and at other times, compliment it. Additionally, when rending skin tone, artists would often concentrate on create overly creaming and light complexions and often utilize undertones of blue. The Dragon seems of sino-oriental influence. On the left side of the composition, Pontomoro depicts a scene of Joseph introducing his family to the Pharaoh of Egypt.

On the right, Joseph is riding on a rolling bench, as cherubs fill the composition around him in addition to other figures and large rocks on a path in the distance. Above these scenes, is a spiral staircase which Joseph guides one his sons to their mother at the top. One element is utilization of incongruous colors such as various shades of pinks and blues which make up a majority of the canvas. An additional element of Mannerism is the incoherent handling of time about the story of Joseph through various scenes and use of space.

Through the inclusion of the four different narratives, Ponotormo creates a cluttered composition and overall sense of busyness. Rosso Fiorentino and the School of Fontainebleau[ edit ] Rosso Fiorentino , who had been a fellow pupil of Pontormo in the studio of Andrea del Sarto , in brought Florentine Mannerism to Fontainebleau , where he became one of the founders of French 16th-century Mannerism, popularly known as the School of Fontainebleau. The examples of a rich and hectic decorative style at Fontainebleau further disseminated the Italian style through the medium of engravings to Antwerp , and from there throughout Northern Europe, from London to Poland.

Mannerist design was extended to luxury goods like silver and carved furniture. A sense of tense, controlled emotion expressed in elaborate symbolism and allegory , and an ideal of female beauty characterized by elongated proportions are features of this style.

Agnolo Bronzino was a pupil of Pontormo, [35] whose style was very influential and often confusing in terms of figuring out the attribution of many artworks.

In the foreground, Cupid and Venus are nearly engaged in a kiss, but pause as if caught in the act. Above the pair are mythological figures, Father Time on the right, who pulls a curtain to reveal the pair and the representation of the goddess of the night on the left. The composition also involves a grouping of masks, a hybrid creature composed of features of a girl and a serpent, and a man depicted in agonizing pain.

Many theories are available for the painting, such as it conveying the dangers of syphilis , or that the painting functioned as a court game. There is also a virtuosic concentration on capturing the precise pattern and sheen of rich textiles.

Specifically, within the Venus, Cupid, Folly and Time, Bronzino utilizes the tactics of Mannerist movement, attention to detail, color, and sculptural forms.

Evidence of Mannerist movement is apparent in the awkward movements of Cupid and Venus, as they contort their bodies to partly embrace. Particularly, Bronzino paints the complexion with the many forms as a perfect porcelain white with a smooth effacement of their muscles which provides a reference to the smoothness of sculpture.

Jacopo Tintoretto , Last Supper , — Jacopo Tintoretto has been known for his vastly different contributions to Venetian painting after the legacy of Titian. His work, which differed greatly from his predecessors, had been criticized by Vasari for its, "fantastical, extravagant, bizarre style. On the left side of the painting, Christ and the Apostles occupy one side of the table and single out Judas.

In its distinct composition, the Last Supper portrays Mannerist characteristics. One characteristic that Tintoretto utilizes is a black background. Though the painting gives some indication of an interior space through the use of perspective , the edges of the composition are mostly shrouded in shadow which provides drama for the central scene of the Last Supper.

Additionally, Tintoretto utilizes the spotlight effects with light, especially with the halo of Christ and the hanging torch above the table. A third Mannerist characteristic that Tintoretto employs are the atmospheric effects of figures shaped in smoke and float about the composition. El Greco[ edit ] El Greco attempted to express religious emotion with exaggerated traits.

After the realistic depiction of the human form and the mastery of perspective achieved in High Renaissance, some artists started to deliberately distort proportions in disjointed, irrational space for emotional and artistic effect.

El Greco still is a deeply original artist. He has been characterized by modern scholars as an artist so individual that he belongs to no conventional school. Instead of being set against the backdrop of Troy , El Greco situated the scene near Toledo, Spain in order to "universalize the story by drawing out its relevance for the contemporary world.

One that they are prevalent is the elongation of many of the human forms throughout the composition in conjunction with their serpentine movement, which provides a sense of elegance.

An additional element of Mannerist style is the atmospheric effects in which El Greco creates a hazy sky and blurring of landscape in the background. Benvenuto Cellini[ edit ] Benvenuto Cellini created the Cellini Salt Cellar of gold and enamel in featuring Poseidon and Amphitrite water and earth placed in uncomfortable positions and with elongated proportions.

It is considered a masterpiece of Mannerist sculpture. Minerva Dressing by Lavinia Fontana — Galleria Borghese, Rome.

Lavinia Fontana[ edit ] Lavinia Fontana — was a Mannerist portraitist often acknowledged to be the first female career artist in Western Europe. She is known for her portraits of noblewomen, and for her depiction of nude figures, which was unusual for a woman of her time. His brother Federico , born around , was also a painter and architect. He went on to complete decorations for Pius IV , and help complete the fresco decorations at the Villa Farnese at Caprarola.

During his Venetian period, he traveled alongside Palladio in Friuli. Joachim Wtewael[ edit ] Joachim Wtewael — continued to paint in a Northern Mannerist style until the end of his life, ignoring the arrival of the Baroque art , and making him perhaps the last significant Mannerist artist still to be working.

His subjects included large scenes with still life in the manner of Pieter Aertsen , and mythological scenes, many small cabinet paintings beautifully executed on copper, and most featuring nudity. Giuseppe Arcimboldo[ edit ] Giuseppe Arcimboldo is most readily known for his artworks that incorporate still life and portraiture. Painted against a black background is a portrait of Rudolf II , whose body is composed of various vegetables, flowers, and fruits.

The joke of the painting communicates the humor of power which is that Emperor Rudolf II is hiding a dark inner self behind his public image. One element is the flat, black background which Arcimboldo utilizes to emphasize the status and identity of the Emperor, as well as highlighting the fantasy of his reign. In the portrait of Rudolf II, Arcimboldo also strays away from the naturalistic representation of the Renaissance, and explores the construction of composition by rendering him from a jumble of fruits, vegetables, plants and flowers.

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John Shearman

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JoJoshicage Addison Hart rated it really liked it Jul 23, He had hoped for the Directorship of the Courtauld at shearan retirement of Anthony Blunt in but was not successful; [3] the medievalist Peter Laskowho had administrative experience, got the appointment instead. Please refer to accompanying picture s. John Shearman Heavy scuffing and creasing. Candlestick, by Antonio Gentili da Faenza, But what struck me most, and what may interest GR friends, is the way in which so much of this seems to anticipate mznnerism aims of modernist and postmodernist literature.



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