Artistic Theory in Italy, 1450-1600

By Anthony Blunt | Go to book overview

Chapter IX THE LATER MANNERISTS

AT the end of the sixteenth century Mannerism gradually ceases to be the dominant style in Italian painting, and its place is taken by the Eclecticism of the Carracci and the Bolognese Academy. It is generally said that the Carracci mark a sharp reaction against the Mannerists with all of whose ideas and methods they disagreed. It is true that there is little in common between the Carracci and Mannerists of the Florentine tradition or those of the Beccafumi type, but there is one group of artists, always described as Mannerists, whose doctrines anticipate the methods of the Eclectics so accurately that one is tempted to regard the Bolognese Academy as the realization in practice of ideas evolved by those very Mannerists which the Academy officially condemned.

Compared with the aristocratic and emotional kinds of Mannerists so far considered the group now referred to may be described as academic and eclectic-the two adjectives usually reserved for the Carracci and their school. These Mannerists were deeply conscious of the decline which had come over Italian art since the days of Leo X, and they hoped like the Carracci to stop this decline not by new discoveries but by the intelligent imitation of the works which the masters of the Renaissance had left behind. For them, as for the Bolognese, painting was a science which could be taught according to fixed rules, and these rules could be discovered by studying the example of good masters. These academic Mannerists can be considered in two main groups. One centred round the Academy of Drawing in Rome, and the most important member of it was Federico Zuccaro, who was elected president in 1593. The other, a

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Artistic Theory in Italy, 1450-1600
Table of contents

Table of contents

  • ARTISTIC THEORY IN ITALY 1450-1600 *
  • Title Page i
  • Preface TO SECOND IMPRESSION iii
  • Preface TO THE FOURTH IMPRESSION iii
  • Preface TO FIRST EDITION v
  • Contents vii
  • List of Plates viii
  • Chapter I- Alberti 1
  • Chapter II- Leonardo 23
  • Chapter III- Colonna- Filarete 39
  • Chapter IV- The Social Position of the Artist 48
  • Chapter V- Michelangelo 58
  • Chapter VI- The Minor Writers of the High Renaissance 82
  • Chapter VII- Vasari 86
  • Chapter VIII- The Council of Trent and Religious Art 103
  • Chapter IX- The Later Mannerists 137
  • Bibliography 160
  • Index 167
  • THE OXFORD AUTHORS 172
  • HISTORY IN OXFORD PAPERBACKS TUDOR ENGLAND 173
  • OXFORD REFERENCE THE CONCISE OXFORD COMPANION TO ENGLISH LITERATURE 174
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