Mannerism in the 16th Century

           At the beginning of the 16^th Century, a new artistic style known as Mannerism emerged within Italy. Mannerism began as a reaction to the unease caused by the formation of Protestantism. As a response to this anxiety, artists began creating chaotic, unnatural artwork that would disturb their viewers. The naturalism and realism that was popular in the Renaissance shifted to an interest in creating artificial and stylized characters. This new artwork moved away from harmony and balance and instead focused on unrealistic body proportions and unstable compositions. Two famous mannerist paintings are Madonna with the Long Neck by Parmigiano and Allegory of Venus and Cupid by Bronzino. Although these two paintings have various similarities and differences, they both have distinct Mannerist styles.

            In 1535, the artist Parmigiano completed an oil painting known as Madonna with the Long Neck. Throughout his career, Parmigiano studied artists, such and Michelangelo, Raphael, and Guilio Romano, which influenced his development of a mannerist style. In Madonna with the Long Neck, the Virgin Mary holds the Christ Child in her lap as a group of young girls gaze upon the sleeping child. This painting is obviously mannerist because of the unnatural, elongation of all of the figures. Mary has an unusually small head, an incredibly long neck, abnormally large thighs, and her entire body is extraordinarily elongated. The Christ Child is also quite disproportioned and looks to be the size of a four year old, not a newborn baby. Although the figures have very strange proportions, the composition and scene within Madonna with the Long Neck are still very similar to previous Renaissance styles. There is somewhat of a triangular composition and the background has some classical references, such as a large granite pillar. The background may not be complete because Parmigiano was still working on this painting at the time of his death and historians are unsure if it was finished.

            About ten years later, in 1945, Bronzino created the Allegory with Venus and Cupid as a gift for Francis I. This oil painting illustrates Venus and Cupid erotically embracing, surrounded by various fantastical onlookers. Like the Madonna with the Long Neck, this painting depicts mother and child in a mannerist style with unnaturally elongated features. Venus is precariously seated and her body is twisted and contorted within the frame. Cupid also has unbelievably long features and is resting unstably on a pillow. There are multiple figures watching Venus and Cupid, just like the group of girls in Madonna with the Long Neck. However, the figures in the Allegory with Venus and Cupid have strange characteristics such as the young girl with a serpent’s body. Unlike Parmigiano’s painting, the Allegory with Venus and Cupid is a much more chaotic scene. There is no clear background in this painting and the onlookers are randomly placed. The unorganized composition utilized by Bronzino may have been a method of alarming and disturbing viewers.

            As you can see, the two paintings Madonna with the Long Neck and Allegory with Venus and Cupid have similar mannerist styles but differing artistic compositions. The artwork produced throughout the Mannerist Period is incredibly confusing and chaotic compared to artwork from the Renaissance. However, the evolution of art is a common trend throughout history and the Mannerist Period eventually transitions into new artistic styles.