John Shearman (1) (1931–2003)
Auteur de Mannerism
Pour les autres auteurs qui s'appellent John Shearman, voyez la page de désambigüisation.
Œuvres de John Shearman
Raphael's cartoons in the collection of Her Majesty the Queen, and the tapestries for the Sistine Chapel (1972) 16 exemplaires
Raphael in Early Modern Sources 1483-1602 (Romische Forschungen Der Bibliotheca Hertziana) (2003) 10 exemplaires
The Early Italian Pictures in the Collection of Her Majesty The Queen (The Pictures in the Collection of Her Majesty… (1983) 8 exemplaires
Andrea del sarto Vaolume II 2 exemplaires
Michelangelo: Literature and Arts B-39 1 exemplaire
Étiqueté
Partage des connaissances
- Date de naissance
- 1931-06-24
- Date de décès
- 2003-08-11
Membres
Critiques
Prix et récompenses
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Auteurs associés
Statistiques
- Œuvres
- 15
- Membres
- 343
- Popularité
- #69,543
- Évaluation
- 3.8
- Critiques
- 3
- ISBN
- 23
- Langues
- 5
Two factors in its development were the fashion of the court (the source of many of the artists' commissions), where elegance was almost a competitive sport, as well as the scope that mannerism afforded the artist for showing off his virtuosity in executing difficult poses and complicated compositions. This went very much against the formalised composition and natural poses favoured in antiquity and the Renaissance. Much of what was good in the mannerist period was taken forward into the Baroque, made less frivolous and more genuinely theatrical and emotional (instead of vapid), before much of the superficiality and exaggerated style of mannerism was reverted to in the late Baroque or Rococo period.
While mannerism is often used as a derogatory term, this book gives a balanced view of both its qualities and deficiencies. It not only covers mannerism in painting and sculpture, but also in literature and architecture. There are a good number of illustrations which are appropriate to the points being made in text.
If mannerism is often overlooked as being equivalent to the light-weight Instagram age of its day, falling between more serious periods, this book not only explains the historical conditions behind this phenomenon, but does justice to the sometimes overlooked quality of many of the works, and their lasting influence. As the previous reviewer has noted, there is probably much here for both the reader with a general interest in art as well as the art history student. Overall a great introduction to this work, and recommended reading to anyone with a passing interest in art.… (plus d'informations)