The art schools in Italy in the middle and late 16th century represented the conservative tendency of pursuing forms after the decline of the Renaissance in its heyday.The art in the stylist period did not form a unified style. The artists showed their own characteristics, such as exaggeration and deformation, emphasizing the modification of details, highlighting the expression of personality, opposing the principles of rationality, elegance and beauty, and emphasizing imagination.In a word, we classify the art in this period, which is different from the principle of rational beauty in the high Renaissance, as stylism.
The word stylism originates from Italian maniera, which also refers to artistic style and life style, and implies elegance and elegance.Since the 1620s, a group of admirersMichelangeloandRafaelAn artist who pursues both elegant style and novelty, and who prides himself on pursuing style, is regarded by later generations as a school of stylism.Since the 17th century, the word has gradually taken on a derogatory meaning, with an affectation of sarcasm.Since 1920, western art historians have reevaluated stylism, believing that it is the art andBaroqueThe style evolution of the independent schools of fine arts has its own social background, and has formed international influence in Western Europe.At present, the discussion is still in depth and there are many controversial points, which is a key issue in the study of the Renaissance and the development of modern art.
Features
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Stylism is characterized by its violation of some basic principles of Renaissance art in its heyday, as well as the futureBaroque art Different.Although it imitates Michelangelo and other masters, it only has its form but loses its spirit. Generally speaking, stylist works pay attention to human body depiction, especially nude, but its posture is strange, and its muscle performance is exaggerated close to deformity;Most of the painting topics are obscure or ingenious, which is difficult to understand;The layout is mostly a fantasy structure, and the perspective skills are freely used. The composition is strange and contrary to common sense;The use of color is also bizarre, not natural.However, these characteristics are also reflected in the basic form of copying the achievements of the Renaissance, so the overall style of the new art is still intact, and only a detailed investigation can identify it.Because of this, stylism is still regarded as the representative of the new style of the Renaissance in some countries, and its significance and role are very different from those of the local people.In terms of development stage, stylism can be divided into two stages: the early stage is from 1515 to 1540, and the above anti classicism features are the strongest;In the late period of 1540~1590, these characteristics have the tendency of academic school, which is more subtle on the basis of learning from the strengths of Renaissance masters in the heyday[1]。
Previous Representative
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The representatives of early stylism areFlorencepainterPontormo, J.da and Rosso, F., there are Julio Romano and Palmijanino outside Florence.The background of stylism is the stagnation of Italian economy, the replacement of Florence's republican politics by aristocratic rule, and the invasion of France, Germany, and Spain by force. In particular, in 1527, the German army captured Rome, and the whole city was devastated. Many artists were hurt by it. The strangeness of stylism actually reflects the precarious environment of the times from different perspectives.Romano was a disciple of Raphael. After his teacher died, he mainly worked in Mantua, North Italy. The Deltai Palace (1525-1535) he built here used classical columns at will, which is a representative work of stylist architecture;The walls and roof of the Giant Hall are painted with the mythical story of the giant being struck by the gods, which vividly depicts the scene of earthquake, landslide and world destruction, which is shocking.Palmijanino's masterpiece The Virgin with a Long Neck (1534) intentionally lengthened the proportion of the human body, especially the Virgin's neck was like a swan, pursuing the ultimate style;Although the skill is excellent, the composition and layout have many absurdities.
Late Representative
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The representatives of late stylism areBronzino，Il、Vasari, G., Cellini, B., C. Salviati, F. Primatijo, Giambolonia and T. Zukari, F. Zukari brothers.At this time, the aristocratic regimes in various parts of Italy were relatively stable, and their courts were the main service objects of artists.The modern art academy was also first established in Florence (1563), and the presenters were all masters of stylism such as Vasari.Therefore, the late stylism increased the noble style of elegance and arrogance, and deliberately pursued the beauty of form almost morbid.However, in terms of specific creative practice, stylism and Renaissance achievements are still mixed and coexist, and sometimes the shortcomings do not hide the merits, and excellent works continue to be produced, such as Vasari's Ufizi Palace, Giambolonia's sculpture "The Statue of Mercury" (1564), "Sabin's Disaster" (1579-1583), and so on.Primatio, following Rosso, introduced Italian art to FranceFontainebleau PalaceCompleted a series of decoration projects that surprised the legal person and promoted the development of French Renaissance art.
Artist Introduction
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Jacopo da pontormo[2]
Italian painter.Born in Pontormo near Empoli on May 24, 1494, he was buried in Florence on January 2, 1557.Originally known as Jacob Karuch, he became famous for his birthplace.The works are innovative, even against the convention, which opens the tendency of stylism, and is a representative figure of the later Florentine school of painting.The works can be divided into three periods: the early period until 1521, the mature period after 1522-1530, and the late period after 1530.The main work place and works are in Florence.Joseph in Egypt, his masterpiece, deliberately abandoned the principle of perspective and concentrated the characters in the space behind the house.The mural "The Burial of Christ", which was painted in Florence for the church of San Felicita between 1526 and 1528, also lengthened the figure, with similar facial features, and the atmosphere was confused and tense, which was totally different from the classical style.
El Greco (Spanish: El Greco, 1541 – April 7, 1614)[3]
Its real name is Dom é nikos Theotok ó poulos.Born in Crete, Republic of Venice in 1541;He died in Toledo, Spain, on April 7, 1614 (aged 72 – 73).Belong to the movement of mannerism (stylism).Painter, sculptor and architect of the Spanish/Greek Renaissance.He is a genius and very complicated person."El Greco" means "Greek" in Spanish, which is a nickname according to Greco's Greek origin;On his paintings, Greco usually signs his full name in Greek, Δ ο ν ν κ ο θ ε ο τ ο π ν λ ο (Dominique Titopolos, Spanish: Dom é nikos Theotok ó poulos).
