Mannerism is a term coined in the twentieth century to describe a period of painting and architecture that flourished in Italy between 1520 and 1600. Mannerism encompasses a variety of schematic approaches to painting that defied the established rules of classical art during the Renaissance. In general, a mannerist work is based on intellectual preconceptions rather than direct visual perceptions. Furthermore, paintings during this time are notable for their artificial rather than naturalistic qualities. Art historians disagree on how to define mannerism, and whether the term applies to early modern poetry, music, and painting as well as painting and architecture.
At the turn of the twentieth century, the term was most likely coined by Swiss historian Jacob Burckhardt and adopted by German art historians. Burckhardt was attempting to classify 16th-century Italian art, a group of works that appeared to be moving away from the High Renaissance styles. Rather than focusing on nature observation, artists began to prioritize their own intellect, invention, and technique. This was partly due to the rise in societal esteem of the artistic profession.
The elongated forms of figures, irrational settings, and a lack of perspective are all hallmarks of a mannerist painting. The lighting in most mannerist paintings has a theatrical quality to it. Compositions of clashing color, emotions, and combinations of Christian, mythological, and Classical themes were created using virtuoso technique.
Domenikos Theotokopoulos, also known as El Greco or the Greek in Spanish, is arguably the most famous mannerist painter. After incorporating mannerist elements into his style in Venice, he moved to Toledo, Spain, where he remained until his death in 1614. El Greco’s otherworldly figures are easily identifiable by their elongated proportions, and his typical works feature almost phantasmagorical colors and an irrational perspective. El Greco’s work, which primarily aims to express religious tensions by dramatizing rather than describing, condenses time and space.
Tintoretto or Jacopo Comin, an Italian painter, is another representative mannerist artist. Muscular figures with dramatic gestures and bold perspective characterize his work. Tintoretto, for example, moves the iconic table and its diners from the composition’s center in his painting of Jesus’ last supper. He steps back, revealing the commotion and cacophony of servers and other guests who have gathered around Christ and his Apostles. As they observe the scene, heaven and angels share the same space as humans.
As mannerism fell out of favor in the late 16th century, the Baroque style gradually took its place. Northern Mannerism was popular in areas north of the Alps well into the seventeenth century. Mannerism can also refer to any idiosyncratic aspect of an author’s style that distinguishes it. The Latinesque syntax of Milton and the rhythmic prose of Hemingway are two examples of qualities that make their writing easily recognizable and can thus be referred to as mannerisms.