Mannerism Case

Mannerism is a confusing term, subject to radically different interpretations but generally used to describe the art in Italy which directly succeeded that of the Renaissance and preceded the Baroque. Its first widespread use, in the 17th century, was pejorative, implying an over-elaborate distortion, an imbalance, and a neurosis first discerned in the later work of Michelangelo and in the followers of Raphael.

'Typical' Mannerist painters were artists such as Parmigianino, with his elegant elongation of the human form, and Pontormo, whose compositions exhibit a disturbing psychological tension.

It shares the same basic characteristics as mannerist painting; elegance complexity the more enigmatic and puzzling it is the better, complicated extreme sense of sophistication and gracefulness and a demonstration of the artists' skill.

Its about life size on a tall pedestal located in its original location where it was made for. Important location, an important part of its meaning

For duke cosimo 1 first great powerful medici duke who rules 16th century Florence.

The story of the sculpture, this representation of perseus

Cellini had been working in France, King Francis 1 who Leonardo had also worked for

Comes back to hometown in Florence to work for Duke - approaches duke with his idea. The duke likes idea and subject. But duke thinks of himself as an artistic connoisseur thought idea wouldn't work. Figure going to tip forward, the bronze casting wont be successful. Lost wax process.

Cellini takes on prject and realises duke was right. Casted it with no flaws.

Bronze casting of this complexity had been a lost art for the whole midde ages.

Cellini was a great sculptor. He was able to accomplish was what said to be impossible and this makes it mannerist a statement of the artists' skill. Virtuosity not only in the casting but in the finishing. Surface incredibly well polished and has a tremendous amount of detail. Its also mannerist because of The rather lythe elegant athletic slim form that corresponds to the dominant aesthetic of the time the issue of the artists' skill that's foregrounded which makes this part so important.

Relates to its setting in front of the town hall in front of the palazzo della signoria where att the time there were already several other sculptures facing opposite Perseus. Michelangelo's david, figure of Hercules installed some years later. commissioned by the republic but then eventually completed under the medici themselves. Both of these figures, michelangelo's david and bandinelli's Hercules in a way were Symbols of the republic of Florence, david who defeats goliath seen as a symbol of how the good and the weak can defeat the strong if god is on their side. 15th century medici had officially stolen this imagery away when they had several sculptures of david made. When the republic expels the medici in the 1490s and then returns to power in the 1500 the republic gets this sculpture by Michelangelo in a way as a statement of their return a statement of their defeat of the medicic. Hercules was aso a symbol of the republic. Hercules was also a symbol of the republic. The hero with the help of god was able to defeat stronger enemies. Symbol of Florence as a democracy. Power in the hands of the citizens of Florence rather than a single family.

Cosimo de medici leads the family's triumphant return taking power back from the republic. They do stamp out the short lived republic at the beginning of the 1500s.

When we see Perseus holding up the head of Medusa standing oppsosite looks like it has turned david a symbol of the republic to stone. Michelangelo looking right at the head of medusa. There is a suggestion that Hercules also is looking at the medusa

The tricky almost humorous but very sophisticated typically mannerist illusion ist hat the medici with their sculture of perseus have turned these figures representing the republic to stone and have defeated their enemies once again.

Intense political context.

Perseus holding medusa's head

Sculpture begins, Benvenuto Cellini explains, when an artist works contortions into a piece of wax or clay:

A good man takes the clay or wax, and begins to impose upon it one of his `graced'