Mannerism 2
Artists that followed the Renaissance in the sixteenth century had the difficult task of succeeding such artists as Raphael, Michelangelo, and the host of other incredible artists of the fourteenth and fifteenth centuries. The artists of the Renaissance were intrigued with nature, the relationship to the Classics, and the application of mathematics to art. By the time the time the Early and High Renaissance were over, many artistic styles relating to these questions had evolved and the quandaries raised had been resolved. The new "problem" for the artists in the sixteenth century was to be able to follow these foot steps, basically forcing artists to ask "what is next?" The answer to such a question is Mannerism, which allowed the individual artist to emulate previous artists and develop a highly personal interpretation of art, keeping within the general concepts of their predecessors. Although capturing nature and the psychology of the subject used was very important to Mannerist artists, such as Jacopo Da Pontormo, Girolamo Francesco Maria Mazzola Parmigianino, Agnoli di Cosimo Bronzino, and Giovanni da Bologna, what became paramount was the infusion of the artist's psychology and interpretation onto the art itself. Manner
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Some common words found in the essay are:
Pontormo's Entombment, Madonna Neck, Venus Cupid, Michelangelo's Bologna, Raphael Michelangelo, Mannerism Renaissance, Unlike Renaissance, Bronzino Giovanni, Mannerists Bologna, Mannerist's Bronzino, renaissance artists, previous artists, negative space, holding christ's, allegory venus cupid, consistent mannerists, christ's legs, true person, figures entombment, true body, viewer forced, rape sabine women, holding christ's legs,
Approximate Word count = 2572
Approximate Pages = 10 (250 words per page double spaced)
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