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

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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

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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

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 Mannerist?InRobertVenturissenseofcomplexityandcontradiction building takesidealform(comparetotheVillaFarnesina)andmoldsitselftothesite. ColonnademarksgroundfloorentrylevelrathertypicalemphasisonPianoNobile Nohorizontalstringcoursestomarkmainfloordivisionsorclassicalorders appliedtoupperlevels actualreadingoffloordivisionsunclearfromfaade Unusualhorizontallyorientedwindowsw/ornamentalframes(strapwork)

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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

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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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Vi ignolaplate32

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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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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)

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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

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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

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IleGesu:Vignolasdesign

KPFMono ographp138

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