German Mannerism
From The Art and Popular Culture Encyclopedia
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| + | The outstanding achievements of the first half of the [[16th century]] were followed by several decades with a remarkable absence of noteworthy [[German art]], other than accomplished portraits that never rival the achievement of [[Hans Holbein the Younger]] or [[Albrecht Dürer]]. | ||
| - | :''[[Northern Mannerism]], [[Mannerism]], [[German Renaissance]], [[German art]]'' | + | The next significant German artists worked in the rather artificial style of [[Northern Mannerism]], which they had to learn in Italy or Flanders. [[Hans von Aachen]] and the Netherlandish [[Bartholomeus Spranger]] were the leading painters at the Imperial courts in [[Vienna]] and [[Prague]], and the productive Netherlandish [[Sadeler family]] of engravers spread out across Germany, among other counties. |
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| - | The outstanding achievements of the first half of the 16th century were followed by several decades with a remarkable absence of noteworthy German art, other than accomplished portraits that never rival the achievement of [[Holbein]] or [[Dürer]]. The next significant German artists worked in the rather artificial style of [[Northern Mannerism]], which they had to learn in Italy or Flanders. [[Hans von Aachen]] and the Netherlandish [[Bartholomeus Spranger]] were the leading painters at the Imperial courts in [[Vienna]] and [[Prague]], and the productive Netherlandish [[Sadeler family]] of engravers spread out across Germany, among other counties. | + | |
| Its principal patron [[Rudolf II]] was relatively little interested in religion, but more in [[mythological painting]]. Goddesses were usually naked, or nearly so, and a more overt atmosphere of eroticism prevails than is found in most Renaissance mythological works, evidently reflecting Rudolf's "special interests". | Its principal patron [[Rudolf II]] was relatively little interested in religion, but more in [[mythological painting]]. Goddesses were usually naked, or nearly so, and a more overt atmosphere of eroticism prevails than is found in most Renaissance mythological works, evidently reflecting Rudolf's "special interests". | ||
| The dominating figure was [[Hercules]], identified with the emperor, as he had earlier been with earlier [[Habsburg]] and [[Valois]] monarchs. But the other gods were not neglected; their [[conjunction]]s and transformations had significance in [[Renaissance Neo-Platonism]] and [[Hermeticism]] that were taken more seriously in Rudolf's Prague than any other Renaissance court. It seems, however, that the painted allegories from Prague contain neither very specific complicated meanings, nor hidden recipes for alchemy. Giambologna frequently chose, or let someone else choose, a title for his sculptures after their completion; for him it was only the forms that mattered. | The dominating figure was [[Hercules]], identified with the emperor, as he had earlier been with earlier [[Habsburg]] and [[Valois]] monarchs. But the other gods were not neglected; their [[conjunction]]s and transformations had significance in [[Renaissance Neo-Platonism]] and [[Hermeticism]] that were taken more seriously in Rudolf's Prague than any other Renaissance court. It seems, however, that the painted allegories from Prague contain neither very specific complicated meanings, nor hidden recipes for alchemy. Giambologna frequently chose, or let someone else choose, a title for his sculptures after their completion; for him it was only the forms that mattered. | ||
| + | ==See also== | ||
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| + | :''[[Northern Mannerism]], [[Mannerism]], [[German Renaissance]], [[German art]]'' | ||
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The outstanding achievements of the first half of the 16th century were followed by several decades with a remarkable absence of noteworthy German art, other than accomplished portraits that never rival the achievement of Hans Holbein the Younger or Albrecht Dürer.
The next significant German artists worked in the rather artificial style of Northern Mannerism, which they had to learn in Italy or Flanders. Hans von Aachen and the Netherlandish Bartholomeus Spranger were the leading painters at the Imperial courts in Vienna and Prague, and the productive Netherlandish Sadeler family of engravers spread out across Germany, among other counties.
Its principal patron Rudolf II was relatively little interested in religion, but more in mythological painting. Goddesses were usually naked, or nearly so, and a more overt atmosphere of eroticism prevails than is found in most Renaissance mythological works, evidently reflecting Rudolf's "special interests".
The dominating figure was Hercules, identified with the emperor, as he had earlier been with earlier Habsburg and Valois monarchs. But the other gods were not neglected; their conjunctions and transformations had significance in Renaissance Neo-Platonism and Hermeticism that were taken more seriously in Rudolf's Prague than any other Renaissance court. It seems, however, that the painted allegories from Prague contain neither very specific complicated meanings, nor hidden recipes for alchemy. Giambologna frequently chose, or let someone else choose, a title for his sculptures after their completion; for him it was only the forms that mattered.
See also
