嬌飾主義繪畫.

Presentation on theme: "嬌飾主義繪畫."— Presentation transcript:

1 嬌飾主義繪畫

2 Mannerism 矯飾主義 Mannerism is a period of European art that emerged from the later years of the Italian High Renaissance around It lasted until about 1580 in Italy, when a more Baroque style began to replace it, but Northern Mannerism continued into the early 17th century throughout much of Europe.[1] Stylistically, Mannerism encompasses a variety of approaches influenced by, and reacting to, the harmonious ideals and restrained naturalism associated with artists such as Leonardo da Vinci, Raphael, and early Michelangelo. Mannerism is notable for its intellectual sophistication as well as its artificial (as opposed to naturalistic) qualities. The definition of Mannerism, and the phases within it, continues to be the subject of debate among art historians. For example, some scholars have applied the label to certain early modern forms of literature (especially poetry) and music of the 16th and 17th centuries. The term is also used to refer to some Late Gothic painters working in northern Europe from about 1500 to 1530, especially the Antwerp Mannerists—a group unrelated to the Italian movement. Mannerism also has been applied by analogy to the Silver Age of Latin. 風格主義，正確的譯名應是手法主義，又有譯為矯飾主義，有時也被過於簡單化地稱為形式主義。是一種在16世紀出現的藝術風格。1527年，神聖羅馬帝國和神聖聯盟（由教宗、法國和威尼斯等組成）之間的戰爭導致羅馬遭洗劫，結束了文藝復興的全盛時期。而這場洗劫動搖了文藝復興運動基礎的信心、人文主義和理性，甚至也分裂了信仰的部分，風格主義藝術便在此時興起。 16世紀晚期西歐美術史、建築史、設計史的基本現象之一就是對此前文藝復興盛期在和諧方面日益趨於完善的秩序世界進行瓦解，這通常被稱為「手法主義」（英語：Mannerism）。漢語中還有「樣式主義」、「風格主義」、「矯飾主義」等譯法，但這後幾個譯名過於意譯，易引起誤解，實際上是錯誤的譯法。兩種譯名在漢語世界均頗常見。該術語自從被提出後就經歷了不斷變化，它有時被認為是指盛期文藝復興古典主義的一種衰落或反動，有時又指連接盛期文藝復興和17世紀巴羅克之間一個橋樑。至今「手法主義」在學術界仍未有一個被普遍認可的精確定義，但用它籠統指大約在1525－1600年之間偏離文藝復興設計的和諧之美的一種傾向。從設計藝術自身的角度來看，手法主義可能源於一些年輕藝術家採取別樣的方式超越前人的嘗試；從社會原因看，則與當時的宗教改革與反宗教改革運動等社會大環境的變動引起人們心理狀態的變化相關。

3 左圖：《蘇珊娜和老人》， Alessandro Allori(1535 - 1607)所繪。以蒼白而帶有 色情意味的人物加上燦爛的 靜物細節，畫面顯得擁擠而 扭曲。
右圖：布龍齊諾所繪的風格 主義肖像畫都有著缺乏情感、 敷衍的寫實畫法和過分專注 於細節部分的特色。 前頁圖： 《長脖子的聖母瑪 利亞》（Madonna with the Long Neck），帕米賈 尼諾（Parmigianino），約 。在風格主義的 畫作中都有著瘦長的比例、 虛假的姿態、和誇張的透視 畫法。

4 Antonio Allegri da Correggio (August 1489 – March 5, 1534), usually known as Correggio, was the foremost painter of the Parma school of the Italian Renaissance, who was responsible for some of the most vigorous and sensuous works of the 16th century. In his use of dynamic composition, illusionistic perspective and dramatic foreshortening, Correggio prefigured the Rococo art of the 18th century. Antonio Allegri was born in Correggio, Italy, a small town near Reggio Emilia. His date of birth is uncertain (around 1489). His father was a merchant. Otherwise, little is known about Correggio's life or training. In the years he apprenticed to Francesco Bianchi Ferrara of Modena. Here he probably knew the classicism of artists like Lorenzo Costa and Francesco Francia, evidence of which can be found in his first works. After a trip to Mantua in 1506, he returned to Correggio, where he stayed until To this period is assigned the Adoration of the Child with St. Elizabeth and John, which shows clear influences from Costa and Mantegna. In 1514 he probably finished three tondos for the entrance of the church of Sant'Andrea in Mantua, and then returned to Correggio: here, as an independent and increasingly renowned artist, he signed a contract for the Madonna altarpiece in the local monastery of St. Francis (now in the Dresden Gemäldegalerie). 科雷吉歐是義大利畫家。大半生都在帕爾馬﹝Parma﹞工作，他的畫風醞釀了巴洛克﹝Barpque﹞，而其優美的風格又影響了十八世紀的法國。從他早期的作品看出他的畫風受到曼帖那﹝Andrea Mantegna﹞和達文西﹝Leonardo da Vinci﹞的影響至深。他留下約有40 幅畫作，全部表現宗教及神話的題材。 1520 年起，他在帕爾馬﹝Parma﹞從事教堂的圓屋頂溼壁畫工作，使用光和陰影及發光的增強色彩的技巧，而令整個景象能超出圓頂。尤其是帕爾馬大教堂圓屋頂上的巨大壁畫《聖母升天圖》﹝Assumption of The Virgin﹞，畫中把正在升天的聖母置在圓頂的中心，周圍一圈圈的聖徒與天使圍繞著聖母向上緩緩昇起。當我們抬頭觀看的時候，飛昇的感覺會越來越強烈，使我們的視點自然地移向天使身上，直到他消失在中心點為止。畫中人物大部分赤身露體，呈現出純真的感情。 Jupiter and Io (c. 1531) typifies the unabashed eroticism, radiance, and cool, pearly colors associated with Correggio's best work

5 Girolamo Francesco Maria Mazzola (11 January 1503 – 24 August 1540), also known as Francesco Mazzola or more commonly as Parmigianino (a nickname meaning "the little one from Parma") or sometimes "Parmigiano", was an Italian Mannerist painter and printmaker active in Florence, Rome, Bologna, and his native city of Parma. His work is characterized by elongation of form and includes Vision of Saint Jerome (1527) and the Madonna with the Long Neck (1534). Parmigianino was also an early Italian etcher, a technique that was pioneered in Italy by Marcantonio Raimondi, but which appealed to draughtsmen: though the techniques of printing the copper plates require special skills, the ease with which acid, when substituted for ink, can reproduce the spontaneity of an artist's hand attracted Parmigianino, a "master of elegant figure drawing". Parmigianino also designed chiaroscuro woodcuts, and although his output was small he had a considerable influence on Italian printmaking. Some of his prints were done in collaboration with Giovanni Jacopo Caraglio. 巴米加尼諾是義大利畫家，初期矯飾主義畫家中，畫風最纖細且優美者之一。他的風格主要是受到科雷吉歐﹝Correggio﹞的影響，後來又受到拉斐爾﹝Raphael﹞的影響。他是一個很神經質的人，瓦薩利﹝Vasari﹞描述：「他滿腦子的鍊金術……他從一個敏感、和藹、嫻雅的人，變成一個滿臉鬍鬚、長髮，沒人理睬的野蠻人……他裸著身體葬在那裏，如他生前所希望的，在墓裏他的胸前放著用杉枝組合的十字架。」 他的作品，無論是繪畫或更具普及性的銅版畫，對義大利或北歐有極大的影響。他的人物有修長的頸項和手，這種趨向具有反宗教改革的意味，《長頸聖母》﹝Madonna with the Long Neck﹞即為一例。他畫肖像畫時若對象正合其意，往往能深刻地表現出肖像的內在精神，尤其是他在維也納時所創作的早期作品《凸鏡中的自畫像》﹝Self-portrait in a Convex Mirror﹞，畫中，他在一面凸面鏡中凝視變形的自己。 Bardi Altarpiece (1521).

6 Self-portrait in a Convex Mirror (c. 1524); Oil on wood, diameter 24
Self-portrait in a Convex Mirror (c. 1524); Oil on wood, diameter 24.4 cm; Kunsthistorisches Museum, Vienna

7 巴米加尼諾是杜勒 ﹝Durer﹞之後，最早的同時做蝕刻版畫與油畫的畫家之一，他使用蝕刻法製作自己的藝術品。他的作品也被廣泛地複製為版畫或明暗木版畫﹝Chiaroscuro Woodcuts﹞，他也許是最早為明暗木版畫擬稿的畫家之一。

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9 削弓的愛神﹝Cupid Carving his Bow﹞
1540 ~ 1545 年 濕壁畫，490 x 385 公分 埃利諾小教堂，佛羅倫斯﹝Florence﹞，義大利

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11 Jacopo Carucci (May 24, 1494 – January 2, 1557), usually known as Jacopo da Pontormo, Jacopo Pontormo or simply Pontormo, was an Italian Mannerist painter and portraitist from the Florentine school. His work represents a profound stylistic shift from the calm perspectival regularity that characterized the art of the Florentine Renaissance. He is famous for his use of twining poses, coupled with ambiguous perspective; his figures often seem to float in an uncertain environment, unhampered by the forces of gravity. Pontormo shares some of the mannerism of Rosso Fiorentino and of Parmigianino. In some ways he anticipated the Baroque as well as the tensions of El Greco. His eccentricities also resulted in an original sense of composition. At best, his compositions are cohesive. The figures in the Deposition, for example, appear to sustain each other: removal of any one of them would cause the edifice to collapse. In other works, as in the Joseph canvases, the crowding makes for a confusing pictorial melee. It is in the later drawings that we see a graceful fusion of bodies in a composition which includes the oval frame of Jesus in the Last Judgement. 彭托莫是義大利一位虔誠的宗教畫家。他曾前往佛羅倫斯學畫，受到達文西﹝Leonardo da Vinci﹞、皮也洛﹝Piero di Cosimo﹞與阿伯提內利﹝Albertinelli﹞等人的影響。於 1512 年左右，他在沙托﹝Andrea del Sarto﹞的門下工作遇到了羅梭﹝Rosso﹞，二人成為朋友，並同為「矯飾主義」﹝Mannerism﹞畫派的創始者。1518 年，在佛羅倫斯的聖米給勒的教區教堂，繪製《聖母像》﹝Madonna﹞，這是矯飾主義最早的作品之一。 Portrait of a Halberdier, ; Oil on canvas, 92 x 72 cm; J. Paul Getty Museum, Los Angeles

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13 Visitation, 1514-16; Fresco; 392 x 337 cm; SS. Annunziata, Florence

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19 Artist: Jacopo Pontormo Completion Date: 1526
Place of Creation: Italy Style: Mannerism (Late Renaissance) Genre: religious painting Gallery: Santa Felicita, Cappella Capponi, Florence, Italy

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21 Agnolo di Cosimo (November 17, 1503 – November 23, 1572), usually known as Il Bronzino, or Agnolo Bronzino (mistaken attempts also have been made in the past to assert his name was Agnolo Tori and even Angelo (Agnolo) Allori), was an Italian Mannerist painter from Florence. His sobriquet, Bronzino, in all probability refers to his relatively dark skin. Bronzino's work tends to include sophisticated references to earlier painters, as in one of his last grand frescoes called The Martyrdom of St. Lawrence (San Lorenzo, 1569), in which almost every one of the extraordinarily contorted poses can be traced back to Raphael or to Michelangelo, who Bronzino idolized (cf. Brock). Bronzino's skill with the nude was even more enigmatically deployed in the celebrated Venus, Cupid, Folly and Time, which conveys strong feelings of eroticism under the pretext of a moralizing allegory. His other major works include the design of a series of tapestries on The Story of Joseph, for the Palazzo Vecchio. Many of Bronzino's works are still in Florence but other examples can be found in the National Gallery, London, and elsewhere. 布隆津諾是佛羅倫斯畫家，彭托莫﹝Pontormo﹞的弟子，亦受米開蘭基羅﹝Michelangelo﹞影響。起先為多斯加尼大公，麥第奇家族的科西莫一世﹝Cosimo I de‘ Medici﹞的御用畫師，是最重要的矯飾主義畫家之一。 布隆津諾專注於表現超乎人性的典雅與拘謹，和他的老師彭托莫那種強烈的感性大異其趣。他從米開蘭基羅所學有限，大約只有前縮法﹝fore-shortening﹞的技巧。他的宗教作品數量不多，大都極其精緻，而不帶一絲感情。其人物形象堅實有力，繪畫材料簡潔、光潤、具有一種神奇的純潔，表現形式又堅定不拔。例如，作品《愛情的寓意》﹝Allegory of Lust﹞雖然在冰冷中帶有淫猥的意味，但是一種理想主義氣味，使畫面構圖充滿象徵意義，明顯的性感表現並沒有損害形象的輝煌和肉體的光輝。

22 Eleanor of Toledo (1544-45), oil on wood, Uffizi Gallery, Florence
Portrait of Lucrezia Panciatichi (circa 1540), Galleria degli Uffizi, Florence

23 Deposition of Christ (1540–45), oil on panel, Museum of Fine Arts of Besançon
Portrait of Laura Battiferri (c. 1560), oil on canvas, Palazzo Vecchio, Florence

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25 The Wedding at Cana, 1562–1563. Louvre

26 Paolo Veronese (1528 – 19 April 1588) was an Italian painter of the Renaissance in Venice, famous for paintings such as The Wedding at Cana and The Feast in the House of Levi. He adopted the name Paolo Cagliari or Paolo Caliari, and became known as "Veronese" from his birthplace in Verona. Veronese, Titian, and Tintoretto constitute the triumvirate of pre-eminent Venetian painters of the late Renaissance (16th century). Veronese is known as a supreme colorist, and for his illusionistic decorations in both fresco and oil. His most famous works are elaborate narrative cycles, executed in a dramatic and colorful Mannerist style, full of majestic architectural settings and glittering pageantry. His large paintings of biblical feasts executed for the refectories of monasteries in Venice and Verona are especially notable. His brief testimony with the Inquisition is often quoted for its insight into contemporary painting technique. 藝術大師提香﹝Titian﹞有兩個偉大的弟子：丁托列托﹝Jacopo Robusti Tintoretto﹞和維諾內些，他們同時被譽為十六世紀義大利威尼斯畫派三傑。 　　在提香過世之後，維諾內些便在師兄丁托列托的畫室學藝。由於受到家鄉維洛那的傳統繪畫風格影響，維諾內些習慣用銀灰色調。雖然他的歷史與宗教題材作品較之提香和丁托列托少了一分狂放的激情，但在女性豐盈玉潤的刻畫上卻多了些世俗的富貴與奢華，如《摩西的發現》﹝The Finding of Moses﹞。 這種流暢清新的繪畫風格，尤其突出表現在歡宴、喜慶的享樂場面。在那個時候，清欲的宗教理念深入了大多數人的心靈，資產階級式的享樂主義風尚不甚流行。畫家們不敢直接面對世俗生活中的享樂場面，只能代之以宗教、神話中的某些相關題材。 維諾內些的代表作《李維家的盛宴》﹝Feast in the House of Levi﹞是以《聖經》中，耶酥揭穿猶大偽善面目的「最後的晚餐」為題材。在這個題材上任何畫家都會用嚴謹的筆觸，悲憤的基調作畫，但是維諾內些卻飾以大量世俗享樂化的形象。

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38 Tintoretto (Italian pronunciation: [tintoˈretːo]) (September 29, 1518 – May 31, 1594), real name Jacopo Comin, was a Venetian painter and a notable exponent of the Renaissance school. For his phenomenal energy in painting he was termed Il Furioso. His work is characterized by its muscular figures, dramatic gestures and bold use of perspective in the Mannerist style, while maintaining color and light typical of the Venetian School. In his youth, Tintoretto was also known as Jacopo Robusti as his father had defended the gates of Padua in a rather robust way against the imperial troops during the War of the League of Cambrai (1509–1516). His real name "Comin" has only recently been discovered by Miguel Falomir, the curator of the Museo del Prado, Madrid, and was made public on the occasion of the retrospective of Tintoretto at the Prado in Comin translates to the spice cumin in the local language. 丁托列多的作品中混合了古典主義的高雅及反古典主義的作風，他所追求的是要向米開朗基羅學習線條，向提香學習色彩，但是他的作品顯然比這兩位大師要來得誇張而特別。丁托列多在正式創作之前，常以蠟人模擬習作，並尋找最富動態的構圖、最劇烈的視點及最強烈的採光效果，結果使他的作品常呈現出特異的空間，觀者需從非傳統的角度來欣賞畫面，有時甚且會感到頭暈目眩，再加上丁托列多善於以筆觸表達感情，令其作品呈現了不安的質素。 其代表作《最後的晚餐》中即以特別安排的透視方式進行構圖，使得觀者需沿著空間急驟縮小的對角方向由左下而右上欣賞畫面。同時，丁托列多將主角基督置於畫面的中央﹝頭後有光圈者﹞，消失點則置於畫面的左上方，當觀眾的視線在中心點及消失點之間來回移動時，便感受到不安而強烈的動態。

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43 El Greco (1541 – 7 April 1614) was a painter, sculptor and architect of the Spanish Renaissance. "El Greco" (The Greek) was a nickname, a reference to his ethnic Greek origin, and the artist normally signed his paintings with his full birth name in Greek letters, Δομήνικος Θεοτοκόπουλος (Doménikos Theotokópoulos), often adding the word Κρής (Krēs, "Cretan"). El Greco was born on Crete, which was at that time part of the Republic of Venice, and the centre of Post-Byzantine art. He trained and became a master within that tradition before travelling at age 26 to Venice, as other Greek artists had done. In 1570 he moved to Rome, where he opened a workshop and executed a series of works. During his stay in Italy, El Greco enriched his style with elements of Mannerism and of the Venetian Renaissance. In 1577, he moved to Toledo, Spain, where he lived and worked until his death. In Toledo, El Greco received several major commissions and produced his best-known paintings. El Greco's dramatic and expressionistic style was met with puzzlement by his contemporaries but found appreciation in the 20th century. El Greco is regarded as a precursor of both Expressionism and Cubism, while his personality and works were a source of inspiration for poets and writers such as Rainer Maria Rilke and Nikos Kazantzakis. El Greco has been characterized by modern scholars as an artist so individual that he belongs to no conventional school.He is best known for tortuously elongated figures and often fantastic or phantasmagorical pigmentation, marrying Byzantine traditions with those of Western painting. 葛雷柯被譽為是西班牙最偉大的畫家之一，從他的作品，可看出其廣受多家影響的淵源，如：提香﹝Titian﹞、米開朗基羅﹝Michelangelo﹞、巴沙諾﹝Bassano﹞、拉婓爾﹝Raphael﹞、杜勒﹝Durer﹞、以及彭托莫﹝Pontormo﹞、巴米加尼諾﹝Parmigianino﹞等義大利中部矯飾主義畫家。 葛雷柯揉合各家之長形成自己極端個人化的矯飾主義風格，他用色陰沈而尖銳，常用藍色、黃色、鮮綠和生動的粉紫色作強烈對比，畫中人物肢體刻意拉長，呈現神經質似的緊張感，使其作品具有高度的個人色彩。

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49 THE END