CAT ARTICLE DOSE – 25

. . .In the late 15th century, artists in Florence began to forego the ethereal iconography of the Dark Ages in
favour of classicism — generally associated with harmony, restraint, and adherence to recognized standards of
form and craftsmanship. This aesthetic approach lasted until the 17th century and culminated in three subsets:
the Early Renaissance, the High Renaissance, and the Late Renaissance.

During the Early Renaissance, artists began looking to antiquity for inspiration. This newfound interest would then
inform the High Renaissance, a genre characterized by naturalistic figures and mathematically precise use of
perspective. The High Renaissance lasted from 1490 until the 1530s, when the Late Renaissance, or Mannerism,
emerged. . . . Mannerism is regarded as a bridge between the High Renaissance and the Baroque period, which
adopted the subset's ornate aesthetic and adapted it as extravagance. [Manenerism is named after maniera, an
Italian term for “style” or “manner,” and refers to a stylized, exaggerated approach to painting and sculpture.]

Pioneered by Parmigianino, an Italian artist, Mannerists rejected realistic proportions and instead rendered
figures with impossibly elongated limbs and oddly positioned bodies. These stretched and twisted forms were
likely employed to suggest movement and heighten drama. According to Giorgio Vasari, a prominent Italian
painter, architect, historian, and writer, Parmigianino inadvertently adopted this unusual aesthetic while painting
his own likeness. “In order to investigate the subtleties of art,” Vasari says of Parmigianino in his famous art
history book, The Lives of the Artists, “he set himself one day to make his own portrait, looking at himself in a
convex barber's mirror. And in doing this, perceiving the bizarre effects produced by the roundness of the mirror,
which twists the beams of a ceiling into strange curves, and makes the doors and other parts of buildings recede
in an extraordinary manner, the idea came to him to amuse himself by counterfeiting everything.” . . .

Lavish adornment is another way Mannerists pushed Renaissance sensibilities to their limits. While High
Renaissance figures did not typically incorporate patterns into their work, Early Renaissance artists like Sandro
Botticelli did. Inspired by millefleur (from the French mille-fleurs, or “thousand flowers”) tapestries of the Middle
Ages, Botticelli incorporated floral designs into his large-scale mythological paintings like Primavera. Mannerist
artists, in turn, revisited this interest in elaborate ornamentation, covering both canvases and sculptures in an
overwhelming abundance of decorative elements. One artist who took this concept to astonishing new levels is
Giuseppe Arcimboldo, a painter who crafted peculiar portraits of people made out of vegetation, animals, and
found objects.

Finally, Mannerists abandoned the naturalistic colours used by High Renaissance painters and instead employed
artificial—and often garish—tones. These unrealistic hues are particularly apparent in the work of Jacopo da
Pontormo, an Italian artist whose saturated palette took the rich colours of the Renaissance to new heights. This
approach to colour is also famously associated with El Greco, a Spanish painter who adopted the Mannerist style
when he moved to Rome. Like other Mannerists, El Greco looked to earlier artists without attempting to
reproduce their work. “You must study the Masters,” he said, “but guard the original style that beats within your
soul and put to sword those who would try to steal it.”

Though a subset of the Renaissance—arguably art history's most impactful art movement—Mannerism is not
held in the same esteem as the Golden Age's earlier work. Nevertheless, its distinctive aesthetic continues to
enchant those who are aware of it, making it one of art history's most fascinating hidden gems.

[Turn to the next page to check your comprehension & analysis]

Page 1 of 8
PASSAGE DETAILS
• Source: Mannerism: The Style That Put an Elaborate Twist on Renaissance Art, by Kelly Richman-Abdou | My
Modern Met
https://mymodernmet.com/what-is-mannerism/
• Length of the Extract: 589 words
• Flesch Kincaid Grade Level: 15.1
• Genre: Art, Humanities

MIND MAPS

After carefully reading the passage, evaluate your understanding through the following exercises:

1. Comprehension Check: This part is focused on identifying and summarising the main ideas in the passage.
Look for pivotal sentences or groups of sentences that encapsulate the core themes in each paragraph.
Summarise these main ideas using your own words. Your goal is to capture the essence of the passage
accurately.

2. Reasoning Check: In this part, you’ll engage with questions centred on inference and critical reasoning.
These questions will require you to analyse the logic and arguments presented in the passage and make
inferential deductions. Reflect on the strength of the reasoning, assess the evidence provided, and evaluate if
the conclusions drawn are well-supported.

Upon completing each exercise, review the provided answers to gauge your comprehension and reasoning
performance. This is a valuable opportunity to enhance your critical reading skills.”

Page 2 of 8
COMPREHENSION CHECK
“In this exercise, your task is to identify the key sentence or group of sentences in each paragraph that best encapsulates
its main idea. Once you’ve identified these, provide a concise summary of the principal theme or message conveyed in each
paragraph. Remember, your goal is to effectively distil the essence of the paragraph using the key sentences and your own
summarisation.”
KEY IDEA
[1] . . .In the late 15th century, artists in Florence began to forego the ethereal iconography of the
Dark Ages in favour of classicism — generally associated with harmony, restraint, and adherence
to recognized standards of form and craftsmanship. [2] This aesthetic approach lasted until the
17th century and culminated in three subsets: the Early Renaissance, the High Renaissance, and
the Late Renaissance.

[3] During the Early Renaissance, artists began looking to antiquity for inspiration. [4] This
newfound interest would then inform the High Renaissance, a genre characterized by naturalistic
figures and mathematically precise use of perspective. [5] The High Renaissance lasted from 1490
until the 1530s, when the Late Renaissance, or Mannerism, emerged. [6] Also known as the Late
Renaissance, Mannerism is regarded as a bridge between the High Renaissance and the Baroque
period, which adopted the subset's ornate aesthetic and adapted it as extravagance. [7]
[Manenerism is named after maniera, an Italian term for “style” or “manner,” and refers to a
stylized, exaggerated approach to painting and sculpture.]

[8] Pioneered by Parmigianino, an Italian artist, Mannerists rejected realistic proportions and
instead rendered figures with impossibly elongated limbs and oddly positioned bodies. [9] These
stretched and twisted forms were likely employed to suggest movement and heighten drama. [10]
According to Giorgio Vasari, a prominent Italian painter, architect, historian, and writer,
Parmigianino inadvertently adopted this unusual aesthetic while painting his own likeness. [11] “In
order to investigate the subtleties of art,” Vasari says of Parmigianino in his famous art history
book, The Lives of the Artists, “he set himself one day to make his own portrait, looking at himself
in a convex barber's mirror. [12] And in doing this, perceiving the bizarre effects produced by the
roundness of the mirror, which twists the beams of a ceiling into strange curves, and makes the
doors and other parts of buildings recede in an extraordinary manner, the idea came to him to
amuse himself by counterfeiting everything.” . . .

[13] Lavish adornment is another way Mannerists pushed Renaissance sensibilities to their limits.
[14] While High Renaissance figures did not typically incorporate patterns into their work, Early
Renaissance artists like Sandro Botticelli did. [15] Inspired by millefleur (from the French mille-
fleurs, or “thousand flowers”) tapestries of the Middle Ages, Botticelli incorporated floral designs
into his large-scale mythological paintings like Primavera. Mannerist artists, in turn, revisited this
interest in elaborate ornamentation, covering both canvases and sculptures in an overwhelming
abundance of decorative elements. [16] One artist who took this concept to astonishing new levels
is Giuseppe Arcimboldo, a painter who crafted peculiar portraits of people made out of vegetation,
animals, and found objects.

[17] Finally, Mannerists abandoned the naturalistic colours used by High Renaissance painters and
instead employed artificial—and often garish—tones. [18] These unrealistic hues are particularly
apparent in the work of Jacopo da Pontormo, an Italian artist whose saturated palette took the rich
colours of the Renaissance to new heights. [19] This approach to colour is also famously
associated with El Greco, a Spanish painter who adopted the Mannerist style when he moved to
Rome. Like other Mannerists, El Greco looked to earlier artists without attempting to reproduce
their work. “[20] You must study the Masters,” he said, “but guard the original style that beats
within your soul and put to sword those who would try to steal it.”

[21] Though a subset of the Renaissance—arguably art history's most impactful art movement—
Mannerism is not held in the same esteem as the Golden Age's earlier work. [22] Nevertheless, its
distinctive aesthetic continues to enchant those who are aware of it, making it one of art history's
most fascinating hidden gems. . . .

[Check your answers on the next page]

Page 3 of 8
 KEY IDEA
[1] . . .In the late 15th century, artists in Florence began to forego the ethereal iconography of the The shift in the artistic approach
Dark Ages in favour of classicism — generally associated with harmony, restraint, and adherence from the Dark Ages' ethereal
to recognized standards of form and craftsmanship. [2] This aesthetic approach lasted until the iconography to classicism,
17th century and culminated in three subsets: the Early Renaissance, the High Renaissance, and characterizing the Renaissance in
the Late Renaissance. 15th-century Florence.

[3] During the Early Renaissance, artists began looking to antiquity for inspiration. [4] This The introduction of Mannerism, a
newfound interest would then inform the High Renaissance, a genre characterized by naturalistic bridge between the High
figures and mathematically precise use of perspective. [5] The High Renaissance lasted from 1490 Renaissance and the Baroque
until the 1530s, when the Late Renaissance, or Mannerism, emerged. [6] Also known as the Late period, identified as the Late
Renaissance, Mannerism is regarded as a bridge between the High Renaissance and the Baroque Renaissance.
period, which adopted the subset's ornate aesthetic and adapted it as extravagance. [7]
[Manenerism is named after maniera, an Italian term for “style” or “manner,” and refers to a
stylized, exaggerated approach to painting and sculpture.]

[8] Pioneered by Parmigianino, an Italian artist, Mannerists rejected realistic proportions and The exploration of Mannerism's
instead rendered figures with impossibly elongated limbs and oddly positioned bodies. [9] These unique characteristic of distorted
stretched and twisted forms were likely employed to suggest movement and heighten drama. [10] proportions, as pioneered by
According to Giorgio Vasari, a prominent Italian painter, architect, historian, and writer, Parmigianino.
Parmigianino inadvertently adopted this unusual aesthetic while painting his own likeness. [11] “In
order to investigate the subtleties of art,” Vasari says of Parmigianino in his famous art history
book, The Lives of the Artists, “he set himself one day to make his own portrait, looking at himself
in a convex barber's mirror. [12] And in doing this, perceiving the bizarre effects produced by the
roundness of the mirror, which twists the beams of a ceiling into strange curves, and makes the
doors and other parts of buildings recede in an extraordinary manner, the idea came to him to
amuse himself by counterfeiting everything.” . . .

[13] Lavish adornment is another way Mannerists pushed Renaissance sensibilities to their limits. An insight into another distinct
[14] While High Renaissance figures did not typically incorporate patterns into their work, Early characteristic of Mannerism,
Renaissance artists like Sandro Botticelli did. [15] Inspired by millefleur (from the French mille- which is the use of lavish
fleurs, or “thousand flowers”) tapestries of the Middle Ages, Botticelli incorporated floral designs adornments pushing the
into his large-scale mythological paintings like Primavera. Mannerist artists, in turn, revisited this Renaissance sensibilities.
interest in elaborate ornamentation, covering both canvases and sculptures in an overwhelming
abundance of decorative elements. [16] One artist who took this concept to astonishing new levels
is Giuseppe Arcimboldo, a painter who crafted peculiar portraits of people made out of vegetation,
animals, and found objects.

[17] Finally, Mannerists abandoned the naturalistic colours used by High Renaissance painters and Mannerism's departure from
instead employed artificial—and often garish—tones. [18] These unrealistic hues are particularly naturalistic colours towards the
apparent in the work of Jacopo da Pontormo, an Italian artist whose saturated palette took the rich use of artificial and often garish
colours of the Renaissance to new heights. [19] This approach to colour is also famously tones is highlighted.
associated with El Greco, a Spanish painter who adopted the Mannerist style when he moved to
Rome. Like other Mannerists, El Greco looked to earlier artists without attempting to reproduce
their work. “[20] You must study the Masters,” he said, “but guard the original style that beats
within your soul and put to sword those who would try to steal it.”

[21] Though a subset of the Renaissance—arguably art history's most impactful art movement— The final paragraph discusses the
Mannerism is not held in the same esteem as the Golden Age's earlier work. [22] Nevertheless, its place of Mannerism in art history,
distinctive aesthetic continues to enchant those who are aware of it, making it one of art history's acknowledging its continued
most fascinating hidden gems. . . . influence and appeal despite its
less esteemed status compared to
other Renaissance subsets.

[More Analysis on the next page]

Page 4 of 8
Central Theme: The passage explores the evolution and distinct characteristics of Mannerism, a subset of Renaissance art,
contrasting it with the Early and High Renaissance, and its influences on the Baroque period.

Tone: The tone of the passage is informative and analytical. The author objectively discusses the transition from the Early
Renaissance to Mannerism, offering an insightful overview of the movement's characteristics and its influential artists.

Structure of the Passage: The passage starts by setting the context of the art movement during the 15th century in
Florence, highlighting the transition from the ethereal iconography of the Dark Ages to classicism, which marked the
Renaissance period (Para 1). The author then categorizes the Renaissance into three subsets - Early, High, and Late, setting
the stage to introduce the subject of the passage, Mannerism (Para 2). The characteristics of Mannerism are then discussed
extensively, beginning with the exploration of distorted proportions (Para 3), lavish adornments (Para 4), and the use of
artificial colors (Para 5). The passage concludes by positioning Mannerism within the larger context of Renaissance art,
acknowledging its unique appeal and influence despite its lower esteem (Para 6).

[Check your Reasoning on the next page]

Page 5 of 8
REASONING CHECK
Choose the best alternatives for each of the 7 questions.

Question 1:
Based solely on the passage, which one of the following best describes the artforms of the Dark Ages?
A. Artworks that were heavily inspired by classical forms.
B. Artworks featuring mystical symbolism and otherworldly motifs.
C. Artworks employing an exaggerated approach to painting and sculpture.

Question 2:
Which one the following best sums up the transition from Early Renaissance to Late Renaissance?
A. A shift from a focus on harmony and restraint to a stylized, exaggerated approach.
B. A shift from a focus on ethereal iconography to realistic proportions.
C. A shift from naturalistic figures to impossibly elongated limbs and oddly positioned bodies.

Question 3:
Mannerism rejected each of the following EXCEPT:
A. Realistic proportions in painting and sculpture.
B. The use of naturalistic colours.
C. The incorporation of patterns and elaborate ornamentation into artwork.

Question 4:
"In order to investigate the subtleties of art,” Vasari says of Parmigianino in his famous art history book, The Lives of the Artists,
“he set himself one day to make his own portrait, looking at himself in a convex barber's mirror. " What does " looking at himself
in a convex barber's mirror" suggest?
A. Parmigianino was interested in exploring distorted perspectives in his art.
B. Parmigianino had a fascination with mirrors and their reflections.
C. Parmigianino wanted to paint himself from an outsider's perspective.

Question 5:
Which one of the following hypothetical artistic representations is unlikely to be aligned with Mannerism?
A. A portrait using naturalistic colors and realistic human proportions.
B. A sculpture featuring figures with dramatically elongated limbs.
C. A painting incorporating an abundance of decorative elements.

Question 6:
What does "lavish adornment" mean in the context of the passage?
A. The use of vibrant and unrealistic colours.
B. The incorporation of an abundance of decorative elements.
C. The adoption of classicism in art forms.

Question 7:
“You must study the Masters,” he said, “but guard the original style that beats within your soul and put to sword those who
would try to steal it.” What is the essence of this statement?
A. It is essential to defend your own artistic style, even while learning from the great artists of the past.
B. Studying the works of renowned artists inherently implies assimilating their style into one's own work.
C. The styles of past artistic masters are the ultimate standard for creating exceptional art.

Question 8:
What is the key essence of the last sentence of the passage?
A. Mannerism was held in high esteem during the Renaissance period even though few knew it.
B. Mannerism, a fascinating artistic movement, continues to influence the majority of artists today.
C. Mannerism, though not widely recognized, remains fascinating to those who know of it.

[Answers on the next page]

Page 6 of 8
Question 1:
Based solely on the passage, which one of the following best describes the artforms of the Dark Ages?
A. Artworks that were heavily inspired by classical forms.
B. Artworks featuring mystical symbolism and otherworldly motifs.
C. Artworks employing an exaggerated approach to painting and sculpture.

A. Incorrect - The passage states that the Dark Ages were characterized by mystical symbolism and otherworldly
motifs(ethereal iconography), not classical forms.
B. Correct - The passage mentions the mystical symbolism and otherworldly motifs of the Dark Ages.
C. Incorrect - The exaggerated approach to painting and sculpture is associated with Mannerism, not the Dark Ages.

Question 2:
Which one the following best sums up the transition from Early Renaissance to Late Renaissance?
A. A shift from a focus on harmony and restraint to a stylized, exaggerated approach.
B. A shift from a focus on ethereal iconography to realistic proportions.
C. A shift from naturalistic figures to impossibly elongated limbs and oddly positioned bodies.

A. Correct - The passage indicates that the transition from the Early to the Late Renaissance (Mannerism) involved a shift
towards a more stylized, exaggerated approach.
B. Incorrect - Ethereal iconography is associated with the Dark Ages, not the Renaissance period.
C. Incorrect - This statement primarily describes a shift from High Renaissance to Mannerism, not Early to Late Renaissance.

Question 3:
Mannerism rejected each of the following EXCEPT:
A. Realistic proportions in painting and sculpture.
B. The use of naturalistic colours.
C. The incorporation of patterns and elaborate ornamentation into artwork.

A. The passage clearly states that Mannerism rejected realistic proportions.

B. Passage indicates that Mannerists abandoned naturalistic colours.
C. did not reject elaborate ornamentation, instead it utilized it to a great extent.

Question 4:
"In order to investigate the subtleties of art,” Vasari says of Parmigianino in his famous art history book, The Lives of the Artists,
“he set himself one day to make his own portrait, looking at himself in a convex barber's mirror. " What does " looking at himself
in a convex barber's mirror" suggest?
A. Parmigianino was interested in exploring distorted perspectives in his art.
B. Parmigianino had a fascination with mirrors and their reflections.
C. Parmigianino wanted to paint himself from an outsider's perspective.

A. Correct - The passage suggests that the distorted reflection in a convex barber's mirror inspired Parmigianino's style.
B. Incorrect - There's no mention of a general fascination with mirrors, but rather an interest in the distorted perspective they
can offer.
C. Incorrect - While it might be inferred that Parmigianino was experimenting with perspective, the passage doesn't suggest
that he was trying to see himself from an outsider's perspective.

Question 5:
Which one of the following hypothetical artistic representations is unlikely to be aligned with Mannerism?
A. A portrait using naturalistic colors and realistic human proportions.
B. A sculpture featuring figures with dramatically elongated limbs.
C. A painting incorporating an abundance of decorative elements.

A. Correct - Mannerism is characterized by abandoning naturalistic colors and realistic proportions, making a portrait using
these elements unlikely to align with it.
B. Incorrect - Mannerism is known for its use of exaggerated proportions, such as elongated limbs.
C. Incorrect - The passage mentions that Mannerists took interest in elaborate ornamentation, including decorative elements
in their works.

[Contd…]
Page 7 of 8
Question 6:
What does "lavish adornment" mean in the context of the passage?
A. The use of vibrant and unrealistic colours.
B. The incorporation of an abundance of decorative elements.
C. The adoption of classicism in art forms.

A. Incorrect - While Mannerism also involved the use of vibrant and unrealistic colors, "lavish adornment" specifically refers to
the use of decorative elements.
B. Correct - The passage states that Mannerist artists used "lavish adornment," which involved an abundance of decorative
elements in their works.
C. Incorrect - The passage does not associate "lavish adornment" with the adoption of classicism.

Question 7:
“You must study the Masters,” he said, “but guard the original style that beats within your soul and put to sword those who
would try to steal it.” What is the essence of this statement?
A. It is essential to defend your own artistic style, even while learning from the great artists of the past.
B. Studying the works of renowned artists inherently implies assimilating their style into one's own work.
C. The styles of past artistic masters are the ultimate standard for creating exceptional art.

A. Correct - The quote urges artists to study the masters (renowned artists) but to also guard and protect their own original
style.
B. Incorrect - While the statement does encourage studying the work of masters, it doesn't necessarily mean that one should
assimilate their styles into their own work. The statement emphasizes protecting one's unique style.
C. Incorrect - The quote does not suggest that the styles of past artistic masters are the ultimate standard for creating
exceptional art. Instead, it urges artists to develop their own unique styles.

Question 8:
What is the key essence of the last sentence of the passage?
A. Mannerism was held in high esteem during the Renaissance period even though few knew it.
B. Mannerism, a fascinating artistic movement, continues to influence the majority of artists today.
C. Mannerism, though not widely recognized, remains fascinating to those who know of it.

A. Incorrect - The passage indicates that Mannerism isn't held in the same esteem as the earlier work from the Renaissance
period.
B. Incorrect - The passage does not comment on Mannerism's influence on contemporary artists.
C. Correct - The final sentence of the passage suggests that Mannerism, while not as renowned as other Renaissance art, still
holds fascination for those aware of it.

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