Lecture15:Renaissance Lecture 15: Renaissance Mannerism
AuthorityandSubversion Giulio Romano/GiacomodaVignola 1520 1520 1580
WhatisMannerism?
FormostoftheCinquecento,mostoftherestofthe16th century,(mainly after1520)awrestlingbetweenfurthercodifyingtheclassicalnorms establishedbyBramanteandhisschool(Raphael,Peruzzietc.)intheearly partofthecentury:i.e.robust,Roman,monumental,sculpturalspaceand wallsurfaces,liketheTempietto,likeSantaMariadellaConsolazioneinTodi p andbreakingtherules,varyingtheforms,willfully,orplayfully Ideaofbothauthorityandsubversion
perColinRowe,LeonSatkowski,ItalianArchitectureofthe16th Century
Definition (PerJamesCurl,ClassicalArchitecture)
Mannerism:Astyleof16th centuryarchitecturecharacterizedby M i A l f 16 hi h i d b theuseofclassicalmotifsoutsidetheirnormalcontext,orinawillful orillogicalmanner.ItwastheprecursoroftheBaroque,andis generallyassociatedwithItalianarchitecturefromthetimeof Michelangelountilthebeginningofthe17 century. Michelangelo until the beginning of the 17th century
(Curl,glossary,p199)
Afurtherlookatthis twodifferenttakes: PeterMurray: TheArchitectureoftheRenaissance(1963)
Mannerism,asatermwasinventedsomesixtyyearsago whenitbecameclearthatthepurelyclassicalstyleof when it became clear that the purely classical style of Bramante,RaphaelandPeruzziatthebeginningsoftheir careerswasnotthesameinintentionasthestylepracticed byGiulioRomanoorevenbyRaphaelandPeruzziintheir lateryears.Similartendenciescanbefoundinpaintingand insculpture,perhapsmostnotablyinRaphaelslatework suchastheTransfiguration (intheVatican).Inallthreearts such as the Transfiguration (in the Vatican) In all three arts thisnew,restless,stylewasduetoanumberoffactorsof whichthemostimportantwerethepersonalityof Michelangeloandthefactthattheclassicalstyleof BramanteandtheearlyRaphaelmusthaveseemedto youngermenadeadend.Itmusthaveappearedtothem thatnothingcouldbedoneonthoselineswhichwouldbe h hi ld b d h li hi h ld b betterthantheworkalreadyinexistence,soratherthantry torivalBramantesTempiettoorRaphaelsSchoolofAthens thesensiblethingtodoseemedtobetotrytofinda different,moreexcitingstyle.Inarchitecturethemere p yp q p imitationofclassicalprototypeswasnowquitesimpleandit seemedworthexperimentingwiththeclassicalvocabulary inordertofindnewcombinationsthatmightyieldresults visuallyassatisfactoryasanythingthathadcomedown fromantiquity.
(Murraypp145146)
RaphaelTransfigurationof Christ (c15161520),Vatican:
Lastmasterpiece,finishedbyGiulio Romano,hisassistant combines Romano his assistant combines formalpolishandelegancew/ anatmosphereoftension inits feelingandcompositionit inauguratedthemannerist ( y p movement(Encyclopedia Britannica)
FrederickHartt: TheHistoryofItalianRenaissanceArt(1987) Th Hi f I li R i A (1987) WhereasthecontentofHighRenaissanceartisoftenideal,Manneristartoften choosessubjectsthatareabnormalorunnatural,andthestrangeand unexpectedaspectofasubjectmaybeemphasized.Manneristinterpretations unexpected aspect of a subject may be emphasized Mannerist interpretations sometimesstressuncontrolledemotionorwithdrawal.InHighRenaissanceart thenarrativewillusuallybedirect,compactandcomprehensible;inMannerist artitisoftenelaborate,involved,andobtuse.(appliesmainlytopainting) Whil WhilespaceinHighRenaissanceworkwillbemeasured,harmoniousand i Hi h R i k ill b d h i d ideal,Manneristspacecanbedisjointed,spasmodic,and/orlimitedtothe foregroundplane. High Renaissance compositions are harmonious and integrated, they are often HighRenaissancecompositionsareharmoniousandintegrated,theyareoften centralized,andtheymayassumeapyramidalorconicalform(e.g.ideal centralizedchurches SantaMariadellaConsolazione);Mannerist compositionsmaybeconflicting,andformsoftenseektheframeorviolateit Whil Hi h R WhileHighRenaissanceproportionsarenormativeandidealized,Mannerist i ti ti d id li d M i t proportionscanbeuncannonical,usuallyattenuated.
(seeHarttp589)
But,significantly theconceptofMannerismalsoverymuchapartof current,contemporarydialogueinmodern architecturetheory,especially current contemporary dialogue in modern architecture theory especially overthepast40+years: Robert Venturi: Complexity and Contradiction in Architecture (1966) RobertVenturi:ComplexityandContradictioninArchitecture(1966) representingtheGrays Postmodernists ColinRowe:Transparency:LiteralandPhenomenal (twoarticlespublishedin Perspecta in1964,1971) representingtheWhites theNeoModernists, theNewYorkFive Ri h d M i P t Ei th N Y k Fi RichardMeier,PeterEisenmanetal. t l
Thedesireforacomplexarchitecture,withits attendantcontradictions,isnotonlyareactionto tt d t t di ti i t l ti t thebanalityorpettinessofourcurrent architecture.Itisanattitudecommoninthe Manneristperiods:thesixteenthcenturyinItaly ortheHellenisticperiodinClassicalarttoday g f thisattitudeisagainrelevanttothemediumof architectureandtheprograminarchitecture.
(Venturi,ComplexityandContradictioninArchitecture p19) Coverimagew/MichelangelosPortaPia C i / Mi h l l P t Pi
Redundantelements:more thanoneelementdoesthe worknecessary: flatarch + decoratedlintel+pediment d dl l d above tospanopening, Exaggeratedelements: keystonelargerthanitneeds tobe,pedimentmuchlarger to be pediment much larger thanarch,whichisflatand turneddown toform rusticatedsidesoftheportal jambs,andcutoffatthetop Juxtaposedelements: scrolls,garlands,pilasters, rusticatededges,broken roundedpedimentinsideof triangularpediment all mixedup,overlappedontop i d l d t ofeachother.
(seeComplexityandContradiction p62)
MichelangelosPortaPia,Rome,1568 PerVenturi:ContradictionJuxtaposed from ComplexityandContradiction
ScottG Gilchristphoto
andColinRowe welllookattheconceptof16th centuryMannerismthroughhiseyesaswell
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Bauhaus(WalterGropius) cornerdetail: corner detail: LiterallyTransparent all glass,canseerightthrough:
Analogoustodeep, perspectivalspace perspectival space
VillaStein(LeCorbusier) frontfaade: Phenomenally Transparent very little actual glass Phenomenally Transparent verylittleactualglass, butvariouslayers,planes,stackedclosetogetherin shallowspace (thenextexampleshouldmakethismoreapparent)
Analogoustomannerist Analogous to mannerist space?
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perthiskindofanalysis: RichardMeiersBarcelonaMuseumhasmanyofthelayeringqualitiesthata faadelikeMichelangelosSanLorenzohas bothcouldbeconsidered phenomenallytransparent,bothcouldbeconsideredManneristworks?
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SanLorenzoFaadeProject: Ambiguous,overlappinglayers w/inshallowspaceofframe, grid
BarcelonaMuseumfacade: 1. ManneristasalateversionofearlierHigh CorbusianModernism like16th Century MannerismistoBramante 2. Manneristinthesesenseofvariousambiguous overlappinglayersinshallowspace vs.clear, unambiguousopening,liketheBauhaus unambiguous opening like the Bauhaus
Meierp3 32
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RossoFiorentinoDescent R Fi ti D t fromtheCross(1521)
RaphaelSchoolofAthens(15101511) R h l S h l f Ath (1510 1511)
PerRowe paintingcomparisonshouldhelpmaketheseideasmorevivid,clear DeepperspectivalspaceofAthensvs.shallow,closeupspaceofDescent pp p p p p Swirling,agitatedmotionofDescentvs.calm,serenity,clarityofAthens Thisverymuchalsoseen(asRowepointsout)intheSistineChapelceilingby Michelangelo,thatwelookedatlasttime M Mannerist panel/gridwilllookforexamples i t l / id ill l k f l
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Willlookmainlyat(5)CaseStudies examplesof16th centuryMannerism: PalazzoMassimoalleColonne,Rome BaldassarePeruzzi,1534 PalazzoSpada,Rome,architectunclearbutbasedonsketchforasimilar buildingbyRaphael,mid16th century Palazzo Te Mantua Giulio Romano 1527 1534 PalazzoTe,Mantua GiulioRomano,15271534 VillaGiulia,Rome GiacomodaVignola,15501555 PalazzoFarnese,Caprarola alsobyVignola,1159
Afewotherexamplestoemphasize,orclarifysomepoints butthese(5)buildings,eachin A few other examples to emphasize or clarify some points but these (5) buildings each in theirownwaysexemplifytheideaswevejusttalkedabout:
Inparticular twokeyarchitects: GiuilioRomano(Giuilio) b14991546 representssubversion GiacomodaVignola(Vignola) b1507 1573 representsauthority
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Plan showinginterconnectionof twoadjacentbuildingsona complicatedsitefortheMassimi brothers PalazzoMassimo,onright brothers Palazzo Massimo on right ArchitectoftheVillaFarnesina Massimoasthecontextual Palazzo
PalazzoMassimoalleColone,Rome,BaldassarePeruzzi,1534 P l M i ll C l R B ld P i 1534
M Murrayp164
Mannerist?InRobertVenturissenseofcomplexityandcontradiction building takesidealform(comparetotheVillaFarnesina)andmoldsitselftothesite. ColonnademarksgroundfloorentrylevelrathertypicalemphasisonPianoNobile Nohorizontalstringcoursestomarkmainfloordivisionsorclassicalorders appliedtoupperlevels actualreadingoffloordivisionsunclearfromfaade Unusualhorizontallyorientedwindowsw/ornamentalframes(strapwork)
ScottGilchristphoto
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Courtyardview showingtheclear tripartitedivisionofthefloors obscuredonthefrontfaade b d h f f d
Colonnadeatentryvestibule
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Mannerist inthemoststraightforwardway? Surfacedecorationemphasizedoverallelse overjustclearlymarking thelogicofthefaadeorganization(i.e.justmarkingthefloorlevelsw/ stringcourses,likethePalazzoMedici)oroverdisplayingthemasteryof i lik h P l M di i) di l i h f theclassicalorders,(e.g.BramantesPalazzoCaprini) Still behinditall,lookslikethewellproportionedlanguageofthe HighRenaissance
h PalazzoSpada,Rome mid16th century
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PalazzoSpada elevation
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BasedondesignforRaphaelsPalazzo g f p Branconio nolongerexisting
Detail atsurfacedecoration verylight, refined
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PalazzoTe Northelevation IfthePalazzoMassimorepresents(inVenturis terms) ContradictionAdapted PalazzoTe mightbeContradictionJuxtaposed a strongersetofcontradictions Symmetry broken everywhere Symmetrybrokeneverywhere Bayrhythmcompletelyuneven heavyhanded
PalazzoTe,Mantua,GiulioRomano (15271534)
PalazzoTe plan
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Insidethecourtyard lookingbacktoentryonnorthside(left)andwaytogarden(right)
CourtyardElevation:extremecontradiction,misalignmentetc.
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Beyondthedeliberate y games,architecturaljokes usefulasaprecedentinthe useofrustication
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Detailsateastcourtyardwall howmanythingscanyoufind wrong in this picture? Details at east courtyard wall how many things can you find wronginthispicture? Unevenbayrhythm Oversizedkeystone,windowarchjammedagainstbentupframe Twodifferentsizedcolumnssharesamebase Mostfamously droppedtriglyphinentablature
ScottGilchristphoto
Interior RoomofGiants skillsasan illusionisticpainter showingthecollapseofhis ownbuildingontopoftheviewerintheroom!
Detail walltextureatrustication
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Finally themorestandardvestibule:spaceopenstowardsthegarden
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GiulioRomanosownhouse inMantua(1540s): Variationsonthethemeofrustication AdeliberateplayoffofthelogicofBramantesclassicismatPalazzoCaprini:1)string coursebentuptoformpedimentoverentry(vs.Bramantesstrictseparationof p f p y( p f upper/lowerlevels)2)upperwindowpedimentsburiedinniches inverseofBramante
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PalazzoMaccarani(152223) court buildingnolongerexists
PalazzoMaccarani exterior
GiuiloRomanosotherdirection? Abstractionofclassicalorders Mannerist Abstraction of classical orders Mannerist grid,framethatColinRowespeaksabout: Thissortofapproachisseenmoreclearlyandin amorerefinedway intheworkofGiacomoda Vignola Vi l
VillaLante Vill L model actual building different. ff
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TheOrders perVignola
Vignolascorniceinvention
Vignola onfrontispiece
GiacomoBarozzidaVignola(b15071573) publishedReguladelliCinqueOrdini dArchitectura TheCannonoftheFiveordersofArchitecture(1562) Firstfullywellillustratedtreatise measureddrawingsoftheordersandtheiruses (Albertisbookshadfewillustrations,Serlio,othermajortreatisewriter,butwasnota sophisticatedarchitect) Authority Vignolasrefinement foundationforFrenchclassicism ofthe17th,18th centuriesandbeyond(vs.Palladio'simpactonEnglish,laterAngloAmericanculture) t i db d ( P ll di ' i t E li h l t A l A i lt )
Vi ignolaplate1
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VillaGiulia aerialview ll G l l
Faadeengraving F d
VillaforPopeJuliusIII Axialcomposition elementsofsurprise:exteriormassing doesn treveal scooped out semicircular court doesnt reveal scoopedoutsemi circularcourt Onceinside progressionthrusitenotclearataglance Usesrustication(perGiuilio),butinarefined/restrainedway Layeringbuildsupcarefulemphasistowardscenter
VillaGiulia,Vignola(andothers),Rome,15501555
Planofresidence
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ScottGilchrest
RoweonVignola: Animportantaspectof Vignolasarchitectureis l h hisorchestrationofa flatsurfacewithan equallyflatapparatusof p pilastersandstripsso p thatevenwhenhe employselementsof robustnessanddepth, thesehavethequalityof stretchingthrougha stretching through a sortofhighlystretched membrane.Inother words,theirbehavioris eruptive.Anditmaybe said,withsome plausibility,thatifhis contemporaryPalladio was(andremains)the greatanalystofthe great analyst of the plan,Vignolawas equallythegreat VillaGiulia mainfacade protagonistofthe elevation.
(Stankowskip203)
Scott tGilchristphoto
Windowdetail
Rusticationatentry
Detailatniche
Facadecomposition
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Obliqueviewatlowerlevel
Windowstudy rusticationandframe playsoffof,envelopesframeitself: Manneristdetail
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Insidethesemicircularcolonnade
framesandthinstrips thesemicircle
VillaGiulia sequenceofspacesthruthe site:
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Viewofthespace nowandasdesignedoriginallyw/decorativesurfacesinpanels View of the space now and as designed originally w/ decorative surfaces in panels
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Intotheloggia,theNymphaeum.anddown
Hiddenstairs downtothegrottobelow g
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Sectionthroughthepentagonshapedfortress startedbyothers: Vignolasmostdramaticwork Exemplifies(best?)hislayered/gridded/flat builtupsurfacecompositionalmethod I Innersleeveatcourtyard l l d lowerthanfullheight h f ll h i h ofvolume:keytoitscomposition
AerialView
PalazzoFarnese,Caprarola,Italy Vignola from1559 Vignola from 1559
SitePlan Site Plan
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Caprarola Viewtowardsmainentry
S ScottGilchrestphoto
Upperlevel:flatpilastersonframedlayer anelevationofbuiltupflat surfaces/thinprofiles
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Rusticationatentry envelopesframe Similarly:flatlayeringsystemat ofDoricorder butw/agreatdealof lowerlevels:archascutoutinlattice, finesse! grid pilasterslayeredontop
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Bramante PalazzoCaprini p
Vignola innersleeveofcourtyard:schemea variationonBramante? variation on Bramante?
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AsintheVillaGiulia,Vignolaapproaches Caprarolasverticalsurfaceswitha Michelangelostylesensibilityandthen g y y proceedstoarticulatetheirsurfaceand depth.Thewallhasbecomeatopicfor anatomicaldissectionlayersare g graduallysubtractedandcutaway y y (Rowe Stankowskip220)
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Detailviewsatwallsurfaceatcourtyard
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Viewofcourtyardstair Andinsideofvestibule(similartoVilla Giulia)
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LegacyofVignola:
First: Thesensibilityof Michelangelo, simplified,made accessible,usable?
FaadebyAmmanati PalazzoFirenze,Rome(1572)
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IleGesu:asbuilt,per GiacomodellaPorta
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Second:Thedevelopmentofthe Baroquefaade willreturntothis themeafternextweek th ft t k
ScottGilchrist
IleGesu:Vignolasdesign
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KohnPedersenFox SaintPaul Companies,(19871991)
KohnPedersenFox ABCStudios,New York(19841986)
third,andstillcurrently: thecontinuingapplicationofVignolalikesensibility
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KohnPedersenFox 500EStreetSW,Washington,DC(198487) ofalltheRenaissancearchitectswithwhomaconnectionwithKPFmightbemade, VignolaisthebestparallelVignolaisimportantforthreereasons.Firsthisflatness;heis theleastplasticandleastrobustofthesixteenthcenturyarchitectsSecondhisutility;the easeofwhichhissystemwasdisseminatedthroughoutEuropeandlaterAmerica.Third, andmostimportant,thewayhe(likeGiulio)begantoabstracttheliteralformsofthe classicalvocabularyintomoregeneric,decorative,nonspecificelements.
(ThomasSchumacher:TheFacadesofKPF:AbstractionandtheLimitsofFiguration, (Thomas Schumacher: The Facades of KPF: Abstraction and the Limits of Figuration KPFMonograph19861992)
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Reading:
Required: Trachtenbergpp309325(ChapterEight:TheRenaissance),restof chapter LectureswillONLYfocusonpp299303and311319 outlineand discussiononFrishouldfocusonthesepages Supplemental: Kostofpp412420(Chapter17 sectiononMannerismandGiulioRomano) Kostofpp468483(Chapter18 sectiononVeniceandPalladio) Mainissues: Mannerism whatisit?Inwhatdifferentwayscanitbeseeninthe examplesshown? examples shown? Relatingtheconceptsandexamplesdiscussedtothefaadetermproject UnderstandingtheimportanceofPalladioswork
