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By Walter Friedländer

Mannerism and Anti-Mannerism is a simple examine, via a superb student, of 2 significant sorts of portray in 16th century Italy. during this paintings Professor Friedlaender offers Mannerism and early Baroque as distinctive self sustaining activities, and establishes their aesthetic and historical significance. The "frenzy of the hot expressive style," to which Michelangelo's violent stream and impressive experiments in colour confirmed the best way, used to be greater than an insignificant response opposed to the excessive classical type. Friedlaender indicates us the optimistic conception and success of the "mannerist" college of Pontormo, Rosso, and Parmigianino, with their intensely own and whimsical types. In brushing off the usual in prefer of arbitrary, uneven, and virtually summary remedy of figures in area, they stretched art's imaginative and prescient and knowing.

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Thus there arises a new no beauty, longer resting on real forms measurable by the model or on forms on idealized on the The space this basis, basis of new reworking who viewpoint to the problem of artistic especially interesting normative, artistic harmonic or rhythmical requirements. relation of this is but rather on an inner An and important. upholder of the way, will take for granted an feels in a classic unambiguous, constructed space in which equally unambiguous move and fixed figures in light and air, for the act.

Some of —the moving figure his face in his hands, bends over and turns away weeping, with a detachment which recalls El of John, for example, Greco. ^^ The space is Daniele must have unreal throughout; the figures hardly known Voss, Spatrenaissance, p. 123, I fill it up, Rosso's painting in Volterra, but in contrast to would also assume a direct link, especially in the upper group, with the Crucifixion of Filippino in the Academy. 9 ROSSO FIORENTINO: MARRIAGE OF THE VIRGIN. FLORENCE, S. LORENZO 10 ROSSO FIORENTINO: DEPOSITION FROM THE CROSS.

Here Fra Bartolommeo, about 1517 (according to Gamba, Disegni, tempting to place The cluster of apostles in Titian's just a little later), in much more like a plastic, spatial p. stiffly 5). It a Ma- is sur- would be soaring Louvre 7 JACOPO PONTORMO: RESURRECTION. FLORENCE, CERTOSA DEL GALLUZZO 8 ROSSO FIORENTINO: ASSUMPTION OF THE VIRGIN. FLORENCE, SS. ANNUNZIATA THE ANTICLASSICAL STYLE 29 rounded by putti which, foreshortened and standing on heads, already anticipate Correggio. let the hem It is equally bold of Rosso to of the middle apostle fall out over the frame, contrary to every Renaissance feeUng.

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