mannerist


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man·ner·ism

 (măn′ə-rĭz′əm)
n.
1. A distinctive behavioral trait, especially one that calls attention to itself; an idiosyncrasy. See Synonyms at affectation.
2. Exaggerated or affected style in an art: films characterized by excessive artifice and mannerism.
3. Mannerism An artistic style of the late 1500s characterized by distortion of elements such as scale and perspective.

man′ner·ist n.
man′ner·is′tic adj.
Translations

mannerist

[ˈmænərɪst]
A. ADJmanierista
B. Nmanierista mf
References in classic literature ?
No mannerist made these varied groups and diverse original single figures.
Nothing can be more dangerous for the fame of a professor of the fine arts, than to permit(if he can possibly prevent it) the character of a mannerist to be attached to him, or that he should be supposed capable of success only in a particular and limited style.
PARIS BORDON (or Bordone) (1495-1570) was a Venetian painter of the Renaissance who while training with Tiziano, maintained a strand of mannerist complexity and provincial vigor.
Mannered Bodies: European Prints of the Late Renaissance was a small but exquisite exhibition of Mannerist prints.
On its broadly chronological journey from the Egyptians to Modernists, via Greek, Roman, Byzantine, Romanesque, Gothic, Renaissance, Mannerist, Baroque and Historicist architecture, this book is filled with acute perceptions and fine descriptions.
Ekserdjian seems consciously to avoid categorizing Parmigianino's work as "mannerist." The term maniera does come up, not as a style category, rather as a designation of his individual approach to realism (98).
Chronologically, historians place Arcimboldo in the Mannerist period, falling between the end of the High Renaissance and the beginning of the Baroque, yet his allegorical paintings really aren't Mannerist at all.
His decorative choices, some of which reflect Late Archaic styles, have led to his being classified as a Mannerist. I argue here, however, for his identification as a sub-Archaic painter and I explain his mannerism as a manifestation of his decorative tendencies.
Robert Mapplethorpe and the Classical Tradition: Photographs and Mannerist Prints
I have become a passionate convert to the concept of video installations as art since seeing Bill Viola's hypnotic 1995 masterpiece, The Greeting, at Forth Worth Museum of Modern Art two years ago - described by the museum (I can do no better than to quote) as a "psychologically gripping performance inspired by the Florentine Mannerist Pontormo's painting The Visitation, 1528-29" - and went in April to see some more of his work newly purchased by the Walker Gallery, most notably a piece called Observance.
While the occasionally mannerist soundtrack threatens to drown all the quiet desperation with denotative musical distress signals, promising writer/director Sean Frewer wisely never permits it to linger too long.
THE EXHIBITION "Robert Mapplethorpe and the Classical Tradition: Photographs and Mannerist Prints" explores the relationship between the photographer and classical art, in particular, 16th-century Flemish Mannerist engravings.