Distortion of Mannerism

Mannerism is a period of European art that emerged from the later years of the Italian High
Renaissance around 1520. It lasted until about 1580 in Italy, when the Baroque style began to replace it,
but Northern Mannerism continued into the early 17th century.
Stylistically, Mannerism encompasses a variety of approaches influenced by, and reacting to, the harmonious
ideals associated with artists such as Vinci, Raphael, and early Michelangelo. While High Renaissance
explored harmonious ideals, Mannerism wanted to go a step further.[2] Mannerism is notable for its intellectual
sophistication as well as its artificial (as opposed to naturalistic) qualities.[3] Mannerism favours compositional
tension and instability rather than the balance and clarity of earlier Renaissance painting. Mannerism in
literature and music is notable for its highly florid style and intellectual sophistication.[4]
The definition of Mannerism, and the phases within it, continues to be the subject of debate among art
historians. For example, some scholars have applied the label to certain early modern forms of literature
(especially poetry) and music of the 16th and 17th centuries. The term is also used to refer to some
late Gothic painters working in northern Europe from about 1500 to 1530, especially the Antwerp
Manneristsa group unrelated to the Italian movement. Mannerism also has been applied by analogy to
the Silver Age of Latin literature.

There is a period of time between the High Renaissance and the emergence of the Baroque era that is
transitional and defies an easy, single explanation. There is no one style associated to Mannerism (named
because of the effected manner many figures possessed during this time). Actually, we saw elements of
Mannerism with Michelangelo's David in the elongation and distortion of his left hand. But during the last half
of the 16th century and well in to the 17th century, we can see an increasing movement toward the individual
artist using their creativity in unorthodox ways. . . . . . from distorting and abstracting the human form, to very
different and sometimes strange compositional designs. So with Mannerism, we go beyond Classicism toward
the realm of the power of the artist to create and distort in which ever way he or she pleases.