There is a period of time between the High Renaissance and the emergence of the Baroque era that is transitional and defies an easy, single explanation. There is no one style associated to Mannerism (named because of the effected manner many figures possessed during this time). Actually, we saw elements of Mannerism with Michelangelo's David in the elongation and distortion of his left hand. But during the last half of the 16th century and well in to the 17th century, we can see an increasing movement toward the individual artist using their creativity in unorthodox ways. . . . . . from distorting and abstracting the human form, to very different and sometimes strange compositional designs. So with Mannerism, we go beyond Classicism toward the realm of the power of the artist to create and distort in which ever way he or she pleases.

This trend is certainly clear in the painting to the left, Madonna of the Long Neck (c. 1540), by Parmigianino. Ultimately influenced by Raphael, Parmigianino borrows his graceful elegance, but that's just about all. As you can see, the Madonna's neck, body and fingers are outrageously distorted, as is the baby Jesus, who looks as if he's in the process of falling off the Virgin's lap. Adding to the sense of distortion is the saint with a scroll in the lower right, and the strange column in the background. Parmigianino tells us that there are more ways than just Classicism to render a painting. Welcome to the first step toward Modernism!

 Again we see Tintoretto's obsession with the unusual in The Finding of St. Mark's Remains (c. 1562). Notice the extreme emotional response of the figures, the bright splashes of light, and the almost annoyingly obvious diagonal starting with the outstretched arm of St. Mark (who is in the process of stopping the plundering of his won grave by Moslem infidels) following up the sides of the pilaster capitals. (What is bothersome here is the totally whacked out sense of proportionality and space.) The painting is shocking, and again, gives the viewer a sense of uneasiness.

Anyway, the story ends with St. Mark taking his own remains back to the City of Venice, where they are entombed in St. Mark's Cathedral.

 

Nowhere is Mannerism more apparent than in the work of Venice's most famous Mannerist, El Greco (his name was actually Theotocopoulos.....but since he was from Crete, the locals dubbed him with a more manageable name). Being from Crete, El Greco was not surrounded by classical proportions (remember the hieratic style of Byzantine art), so the distortions of the Mannerists didn't phase him at the least. After working in Venice and Rome, El Greco settled in Toledo, Spain, where he painted for the rest of his life. It is not at all surprising that his art would take on the mysticism of the Spanish Counter Reformation......which is exactly what we see in so many of his works. In The Opening of the Fifth Seal of the Apocalypse (c. 1608), above, we see the amazing figures of St. John (in blue) and nude martyrs gyrating in excitement at the coming of the end of the world. Every time I look at El Greco's works, I'm amazed at how modern they look.......distorted, twisted and almost looking as if they were made of rubber. The dramatic light reminds us of Tintoretto, while the colors look remarkably like those of Michelangelo's.

The theme of Spanish mysticism is even clearer in El Greco's The Burial of Count Orgaz (c. 1586), above. Again, we see the twisting, distorted figures raising the soul of Count Orgaz upward to heaven, which is shown as swirling, clouded sheets. The figures, below, are amazingly realistic, and take on an almost Byzantine look with the rich gilded robes of the Saints Steven and Augustine, who show up to help lower the body of the Count into the ground. Notice how the row of various and assorted Spanish officials create a line that divides the earthly world from heavenly kingdom.