Mannerism - II
Lucas Cranach the Younger
1515 – 1586
Lucas Cranach the Younger (October 4, 1515 – January 25, 1586) was a German Renaissance painter and portraitist, the son of Lucas Cranach the Elder and brother of Hans Cranach.
Lucas Cranach the Younger was born in Wittenberg, Germany on October 4, 1515, the second son of Lucas Cranach the Elder and Barbara Brengebier. He began his career as a painter as an apprentice in his father's workshop, training alongside his older brother, Hans. Following the sudden death of Hans in 1537, Cranach the Younger would assume greater responsibilities in his father's workshop.
The Protestant Reformation began in Wittenberg in 1517. Cranach the Elder was friends with Martin Luther and became known as a leading producer of Protestant artistic propaganda.[2] In 1550, Cranach the Elder left Wittenberg to join his patron, John Frederick I, Elector of Saxony, in exile. Following his father's departure, Cranach the Younger assumed full responsibility over the flourishing family workshop. In this position, he successfully maintained the workshop's high output of quality work, including images of Reformers such as Luther himself.[3] Although Cranach the Younger was never a court painter, he worked for members of the social elite, including princes and nobles. Upon his death in 1586, theologian Georg Mylius (1613–1640) stated that Cranach the Younger's work could be seen in "churches and schools, in castles and houses."
The Cranach family enjoyed a high status in Wittenberg. In addition to the painting workshop, Cranach the Younger was a successful businessman and politician. He occupied several political offices in Nuremberg commencing in 1549, when he served on the city council. He also served as Chamberlain, beginning in 1555 and Burgomaster from 1565.
On February 20, 1541, he married Barbara Brück (daughter of Gregor Brück, who was Luther's legal advisor and Cranach's neighbour in Wittenberg), with whom he had three sons and a daughter. He was also connected to the Brück family by his sister, Barbara Cranach, who married Christian Brück (brother of his wife). Barbara Cranach died of plague on February 10, 1550. Soon after, Cranach married Magdalena Schurff on May 24, 1551. This union produced five children, including painter Augustin Cranach. His daughter Elisabeth married Polykarp Leyser the Elder.
Cranach the Younger died in Wittenberg on January 25, 1586, at the age of 70. He is buried adjacent to one of his finest altarpieces in the church of St Mary, also known as Stadtkirche Wittenberg.
Portrait of a bearded man
1546
Christ and the Woman Taken in Adultery
1532
Adam and Eve
1537
Nymph of the Spring
1545–1550
Christ Blessing the Children
1540s
Christ blessing the children
1545–1550
Christ and the adulteress
1545–1550
Portrait of Lucas Cranach the Elder
1550
John Frederick I, Elector of Saxony
1578
Elizabeth Habsburg, Queen of Poland
1553
Elizabeth Habsburg, Queen of Poland
1553
Portrait of Catherine of Austria, Queen of Poland
1553
Justitia
1537
Caritas
c. 1550
Diana and Actaeon
c. 1550
Weimar Altarpiece: Crucifixion (central panel)
1555
The Fall of Man
1549
Ill-Matched Couple: Young Man and Old Woman with a Maid
1540s
The Ill-Matched Lovers
Fall and Redemption of Man
Lot and his daughters
The unequal couple
The Ill-matched Lovers
Lucretia
Venus and Cupid
Tintoretto
1518 – 1594
Jacopo Robusti (October 1518 – 31 May 1594), best known as Tintoretto, was an Italian painter identified with the Venetian school. His contemporaries both admired and criticized the speed with which he painted, and the unprecedented boldness of his brushwork. For his phenomenal energy in painting he was termed il Furioso (Italian for 'the Furious'). His work is characterised by his muscular figures, dramatic gestures and bold use of perspective, in the Mannerist style.
Tintoretto was born in Venice in 1518. His father, Battista, was a dyer – tintore in Italian and tintor in Venetian; hence the son got the nickname of Tintoretto, "little dyer", or "dyer's boy". Tintoretto is known to have had at least one sibling, a brother named Domenico, although an unreliable 17th-century account says his siblings numbered 22. The family was believed to have originated from Brescia, in Lombardy, then part of the Republic of Venice. Older studies gave the Tuscan town of Lucca as the origin of the family.
Little is known of Tintoretto's childhood or training. According to his early biographers Carlo Ridolfi (1642) and Marco Boschini (1660), his only formal apprenticeship was in the studio of Titian, who angrily dismissed him after only a few days—either out of jealousy of so promising a student (in Ridolfi's account) or because of a personality clash (in Boschini's version). From this time forward the relationship between the two artists remained rancorous, despite Tintoretto's continued admiration for Titian. For his part, Titian actively disparaged Tintoretto, as did his adherents.
Tintoretto sought no further teaching but studied on his own account with laborious zeal. According to Ridolfi, he gained some experience by working alongside artisans who decorated furniture with paintings of mythological scenes, and studied anatomy by drawing live models and dissecting cadavers. He lived poorly, collecting casts, bas-reliefs, and prints, and practising with their aid. At some time, possibly in the 1540s, Tintoretto acquired models of Michelangelo's Dawn, Day, Dusk and Night, which he studied in numerous drawings made from all angles. Now and afterward he very frequently worked by night as well as by day. His noble conception of art and his high personal ambition were both evidenced in the inscription which he placed over his studio Il disegno di Michelangelo ed il colorito di Tiziano ("Michelangelo's drawing and Titian's colour").
Tintoretto
Self Portrait
The Martyrdom of the Ten Thousand (fragment)
c. 1538
Creation of the Animals
1551-52
The Birth of John the Baptist
c. 1554
Christ and the Woman Taken in Adultery
c. 1550
Lamentation over the Dead Christ
c. 1560
The Crucifixion of Christ
1568
The Descent into Hell
1568
The Last Supper
c. 1570
Christ at the Sea of Galilee
1575-80
Visitation
c. 1588
The Last Supper
1592-94
Venus, Mars, and Vulcan
c. 1551
The Liberation of Arsinoe
c. 1556
Women Playing Music
The Origin of the Milky Way
1570
Danaë
1580
Susanna and the Elders
c. 1555
Judith and Holofernes
c. 1579
Tarquin and Lucretia
c. 1578
Esther before Ahasuerus
1547-48
The Temptation of Adam
1551-52
The Murder of Abel
1551-52
Joseph and Potiphar's Wife
c. 1555
Antoine Caron
1521 -1599
Antoine Caron (1521–1599) was a French master glassmaker, illustrator, Northern Mannerist painter and a product of the School of Fontainebleau.
He is one of the few French painters of his time who had a pronounced artistic personality. His work reflects the refined, although highly unstable, atmosphere at the court of the House of Valois during the French Wars of Religion of 1560 to 1598.
He began painting in his teens doing frescos for a number of churches. Between 1540 and 1550 he worked under Primaticcio and Niccolò dell'Abbate at the School of Fontainebleau. In 1561, he was appointed the court painter by Catherine de' Medici and Henry II of France. As court painter he also had the duties of organizing the court pageants. In this way he was involved in organizing the ceremony and royal entry for the coronation of Charles IX in Paris and the wedding of Henry IV of France with Marguerite de Valois. Some of his surviving illustrations are from these pageants.
His drawings of festivities at the court of Charles IX are likely sources for the depiction of the court in the Valois Tapestries. He died in Paris in 1599.
Augustus and the Sibyl of the Tiber
(c. 1578)
The Massacres of the Triumvirate
1566
Dionysius the Areopagite Converting the Pagan Philosophers
1570s
Merry-go-round with Elephant
The Triumph of Winter
c. 1568
The Arrest and Execution of Sir Thomas More in 1535
1590s
An Allegory Of The Triumph Of Spring
An Allegory Of The Triumph Of Summer
Triumph of Spring
Apotheosis of Semele
Allegory: The Funeral of Amor
Pieter Bruegel the Elder
c. 1525 – 1569
Pieter Bruegel the Elder (c. 1525–1530 – 9 September 1569) was among the most significant artists of Dutch and Flemish Renaissance painting, a painter and printmaker, known for his landscapes and peasant scenes (so-called genre painting); he was a pioneer in presenting both types of subject as large paintings.
He was a formative influence on Dutch Golden Age painting and later painting in general in his innovative choices of subject matter, as one of the first generation of artists to grow up when religious subjects had ceased to be the natural subject matter of painting. He also painted no portraits, the other mainstay of Netherlandish art. After his training and travels to Italy, he returned in 1555 to settle in Antwerp, where he worked mainly as a prolific designer of prints for the leading publisher of the day. At the end of the 1550s, he switched to make painting his main medium, and all his famous paintings come from the following period of little more than a decade before his early death in 1569, when he was probably in his early forties.
In the 20th and 21st centuries, Bruegel's works have inspired artists in both the literary arts and in cinema. His painting Landscape with the Fall of Icarus, now thought only to survive in copies, is the subject of the final lines of the 1938 poem "Musée des Beaux Arts" by W. H. Auden. Russian film director Andrei Tarkovsky refers to Bruegel's paintings in his films several times, notably in Solaris (1972) and The Mirror (1975). Director Lars von Trier also uses Bruegel's paintings in his film Melancholia (2011). In 2011, the film production titled The Mill and the Cross was released featuring Bruegel's The Procession to Calvary (Bruegel).
Pieter Bruegel the Elder
The Painter and the Buyer
ca. 1566
The Painter and the Buyer
ca. 1566
Netherlandish Proverbs
1559
Netherlandish Proverbs (detail)
1559
Children's Games
1560
The Peasant Wedding
1566–69
The Hunters in the Snow
1565
Massacre of the Innocents
(c. 1565–1567)
The Fall of the Rebel Angels
(1562)
The Fall of the Rebel Angels (detail)
(1562)
Dulle Griet
(1563)
Dulle Griet (detail)
(1563)
The Census at Bethlehem
(1566)
The Triumph of Death
(c. 1562)
The Triumph of Death
(c. 1562)
The Triumph of Death (detail)
(c. 1562)
The Triumph of Death (detail)
(c. 1562)
The Tower of Babel
1563
Landscape with the Fall of Icarus
c. 1558.
The Hay Harvest
Pieter Bruegel the Elder
Pieter Bruegel the Elder
Pieter Bruegel the Elder
Pieter Bruegel the Elder
Pieter Bruegel the Elder
Pieter Bruegel the Elder
Pieter Bruegel the Elder
Pieter Bruegel the Elder
Pieter Bruegel the Elder
Pieter Bruegel the Elder
Pieter Bruegel the Elder
Pieter Bruegel the Elder
Pieter Bruegel the Elder
Pieter Bruegel the Elder
Pieter Bruegel the Elder
Giuseppe Arcimboldo
1526 – 1593
Giuseppe Arcimboldo, also spelled Arcimboldi ( 5 April 1526 – 11 July 1593), was an Italian painter best known for creating imaginative portrait heads made entirely of objects such as fruits, vegetables, flowers, fish and books.
These works form a distinct category from his other productions. He was a conventional court painter of portraits for three Holy Roman Emperors in Vienna and Prague; also producing religious subjects and, among other things, a series of coloured drawings of exotic animals in the imperial menagerie. He specialized in grotesque symbolical compositions of fruits, animals, landscapes, or various inanimate objects arranged into human forms.
The still life portraits were clearly partly intended as curiosities to amuse the court, but critics have speculated as to how seriously they engaged with Renaissance Neo-Platonism or other intellectual currents of the day.
Giuseppe Arcimboldo
Self Portrait
Spring
Summer
Winter
Spring
Summer
Autumn
Winter
Summer
Autumn
Winter
Spring
Summer
Winter
The Four Seasons in one Head
Air
Earth
Water
Fair
Pairs of Allegories
Vertumnus
Flora
The Waiter
The Librarian
The Jurist
The Cook
The Vegetable
Reversible Head with Basket of Fruit
Paolo Veronese
1528 – 1588
Paolo Caliari (1528 – 19 April 1588), known as Paolo Veronese, was an Italian Renaissance painter based in Venice, known for extremely large history paintings of religion and mythology, such as The Wedding at Cana (1563) and The Feast in the House of Levi (1573). Included with Titian, a generation older, and Tintoretto, a decade senior, Veronese is one of the "great trio that dominated Venetian painting of the cinquecento" and the Late Renaissance in the 16th century. Known as a supreme colorist, and after an early period with Mannerism, Paolo Veronese developed a naturalist style of painting, influenced by Titian.
His most famous works are elaborate narrative cycles, executed in a dramatic and colorful style, full of majestic architectural settings and glittering pageantry. His large paintings of biblical feasts, crowded with figures, painted for the refectories of monasteries in Venice and Verona are especially famous, and he was also the leading Venetian painter of ceilings. Most of these works remain in situ, or at least in Venice, and his representation in most museums is mainly composed of smaller works such as portraits that do not always show him at his best or most typical.
He has always been appreciated for "the chromatic brilliance of his palette, the splendor and sensibility of his brushwork, the aristocratic elegance of his figures, and the magnificence of his spectacle", but his work has been felt "not to permit expression of the profound, the human, or the sublime", and of the "great trio" he has often been the least appreciated by modern criticism. Nonetheless, "many of the greatest artists ... may be counted among his admirers, including Rubens, Watteau, Tiepolo, Delacroix, and Renoir".
Paolo Veronese
Self-portrait,
1558
Lamentation over the Dead Christ
c. 1547
Conversion of Mary Magdalene
c. 1547
The Mystic Marriage of Sr Catherine
c. 1555
Holy Family with St Catherine and the Infant St John
c. 1565
The Annunciation
1578
Pietà
c. 1581
The Vision of St Helena
c. 1580
Venus and Adonis
c. 1586
Mars and Venus United by Love
c. 1570
Allegory of Wisdom and Strength
c. 1580
Venice, Hercules, and Ceres
1575
Allegory of Love, I: Infidelity
c. 1575
The Allegory of Love II: Scorn
c. 1575
Allegory of Love, III: Respect
c. 1575
Allegory of Love, IV: Happy Union
c. 1575
Lucretia
1580s
Venus and Adonis
c. 1562
Venus and Adonis
1580-82
Mars Undressing Venus
1570s
Venus and Mars with Cupid and a Horse
1570s