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Europe 1300 - 1800
Course: Europe 1300 - 1800 > Unit 4
Lesson 8: Mannerism- Mannerism, an introduction
- Pontormo, The Entombment of Christ
- Pontormo, The Entombment of Christ
- Parmigianino, Madonna of the Long Neck
- Parmigianino, Self-Portrait in a Convex Mirror
- Rosso Fiorentino, the Dead Christ with Angels
- Bronzino, An Allegory with Venus and Cupid
- Bronzino, Portrait of Eleonora of Toledo with her son Giovanni
- Bronzino, Portrait of Eleonora of Toledo with her son Giovanni
- Bronzino and the Mannerist Portrait
- A chapel for Eleonora di Toledo, Duchess of Florence
- Sofonisba Anguissola
- Sofonisba Anguissola, Infanta Catalina Micaela with a Marmoset
- Benvenuto Cellini, Salt Cellar
- Cellini, Perseus
- Giambologna, Abduction of a Sabine Woman
- Mannerism
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Rosso Fiorentino, the Dead Christ with Angels
Rosso Fiorentino, The Dead Christ with Angels, c. 1524-7, oil on panel, 133.4 x 104.1 cm / 52-1/2 x 41 inches (Museum of Fine Arts, Boston). Created by Beth Harris and Steven Zucker.
Want to join the conversation?
- Could Christ's size be an attempt to make him look divine?(4 votes)
- Rainbow Dash, this is actually a good question. I disagree with Beth and Steve that Mannerism is all about artists trying to figure out where they should go after the visual perfection of the High Renaissance.
IMO, since the Catholic church was dealing with the Reformation and the Inquisition, Mannerism was an attempt to unite the new perspective techniques of the High Renaissance with the clear church-sanctioned symbolism of the Gothic and Early Proto-Renaissance.(8 votes)
- Both speakers mention this as a work on canvas, but the text above says it's on a panel. Anyone know which it is?(4 votes)
- perhaps stretched canvas on wood frame? sometimes that's called a panel. (guessing)(1 vote)
- Looking at how Mannerists distort the body, things are starting to look ever so Byzantine (again). Did the Mannerists struggle to achieve their own style without--- in effect--- undoing what was accomplished since Giotto?(3 votes)
- Great question. I don't think the mannerist paintings ever lose the knowledge of the body gained since the 14th c. but as you say "undo" or willfully distort in ways only possible for artists armed with this high degree of understanding.(3 votes)
- the christ has blood lines on his neck.
why is that?(2 votes)- Its a little hard to see in the video but that is actually a reddish beard.(2 votes)
- Could the elongation and disproportion of bodies in Mannerism paintings interpreted as the Mannerism artists were in some way looking back to the Medieval art as well?(1 vote)
- Do we know who made the frame of the painting?(0 votes)
Video transcript
(lighthearted music) Male Voiceover: Where do you go after the perfection of
the high Renaissance? Female Voiceover: Exactly, if
you're an artist in the 1520s, looking back at, for example,
Michelangelo's David, or Raphael's frescoes in the Papal Palace, how could art be more
perfect than it had been made by Michelangelo and Raphael and Leonardo? Male Voiceover: This style that
develops in the courts of Rome immediately after the high Renaissance, a period that we call Mannerism, is defying, in fact, the
strictures of that perfection, and is looking towards
a kind of virtuosity that has to do with distortion
and remaking of form. Female Voiceover: Mannerism is
borrowing from the high Renaissance, but as you said, it's
changing it and distorting it. Male Voiceover: We can see that
in one of the great treasures of the Museum of Fine Arts in Boston; a painting by Rosso Fiorentino. Female Voiceover: This painting
show the dead Christ with angels. Normally we would see much more of an emphasis on Christ's suffering and on the angels mourning
the dead body of Christ. It's not unusual in mannerist paintings for us to have elements
that are hard to figure out, where the iconography has been changed. He's really minimized the usual clues we have about Christ's suffering; we can't easily see the wounds
in Christ's hands or feet, even the wound in His
side that Christ recieved while He was on the cross
seems devoid of blood. All that is unusual. Normally an artist would present us with those attributes, and really have us meditate on
Christ's physical suffering, and we're not given those clues here. Male Voiceover: Even the angels don't seem to be mourning, because they might
be in more traditional paintings. You can see Rosso playing fast and loose in a number of different
ways in this painting. Not only do you have Christ,
this very large figure, in fact, almost too large
for the size of this canvas, surrounded by the four angels
that seem almost too close, but you have this very indeterminant space pushed very close to the foreground, and you have distortions in the
relation of the scale of the bodies. Look at the size, and the mass,
and weight of this dead Christ in relationship to those
angels in the background. Female Voiceover: Christ
seems way too large, almost like he's going to break
out of the space that He's in. It's been suggested that there's not so much emphasis on
Christ's suffering here, because there's more of an interest in the idea of Christ's resurrection, and perhaps, that idea of
Him breaking the bounds of the confines of this
canvas suggests that idea. Male Voiceover: Well,
certainly the two torches held by the angels are a traditional symbol of the resurrection, so
that absolutely works. But Christ is so interesting here because there's a real
sensuality to that body. It's a beautiful body, and it's
got this elegant curvature to it, and yet, it's also dead
and kind of yellow. Female Voiceover: It's not
unusual for mannerist artists to make art, make paintings,
based on other paintings, and we definitely see that here in the way that Rosso recalls Michelangelo's
figures on the Sisitne ceiling. Look at His right thigh,
it doesn't make any sense. It's impossibly long, the way
that it connects to His hip doesn't seem anatomically plausible, and the length to the knee doesn't
seem anatomically plausible. Male Voiceover: Even the other
thigh is too large for the torso. Female Voiceover: We have a
really hard time figuring out how those feet would carry
the weight of this body; in fact, how He's being supported at all. Male Voiceover: So, those distortions
that you're talking about, we've seen so much mannerist work, you might think of Parmigianino's The Madonna of the Long Neck, for example. But it's not that this is a mistake, it's that mannerist artists like Rosso were restructuring the
body in order to express, not only their virtuosity, but in a sense, to be able to manipulate form
as if it was a plastic medium. Female Voiceover: And perhaps to
heighten the spirituality of the moment, maybe by exaggerating the body, or
by elongating it, or twisting it. There's a sense of transcending
the earthly and the physical. Male Voiceover: And stylistically,
we can certainly say that mannerist artists
transcended the strictures, the perfection of the High Renaissance. (lighthearted music)