Parmigianino, Madonna of the Long Neck발음듣기
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Parmigianino, Madonna of the Long Neck
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[MUSIC PLAYING] [Beth Harris] So here, we're looking at the great Mannerist painting by Parmigianino called "The Madonna with the Long Neck."발음듣기
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[Beth Harris] She's got really, really wide hips, and then she comes down on these tiny little toes.발음듣기
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There's this crazy kind of torsion with his arm falling, almost dislocated from his shoulder.발음듣기
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[Beth Harris] There is a precedent for that way that his left arm falls down, if you think about Michelangelo's "Pieta."발음듣기
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And Christ here, as a child, but perhaps echoing when Mary will hold Christ in images like the "Pieta" when Christ is dead.발음듣기
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Because in that sculpture, Mary is quite substantial in order to be able to support the dead body of her son.발음듣기
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[Beth Harris] It's so clear when we're looking at this that we're not in the High Renaissance anymore.발음듣기
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It's almost like the artists of the High Renaissance had done everything that could be done.발음듣기
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[Steven Zucker] So all of the illusionism that was at the service of the High Renaissance is here being used to distort and to transform the body.발음듣기
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It's not so much an ugly deformation as a kind of deformation that accentuates a kind of extreme elegance.발음듣기
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It takes that ideal beauty and elegance that was in the High Renaissance, that was there, and exaggerates it.발음듣기
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And one way of thinking about Mannerism is to think about it as art taken from art, instead art from nature.발음듣기
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We think about the Renaissance as being based on observation of nature and the natural world.발음듣기
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But when you look at this, you think back to works of art like Michelangelo's "Giuliano de Medici" and that long neck, or back to the "Pieta."발음듣기
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[Steven Zucker] That makes a lot of sense, the idea that this is art that is self-referential, that is referring to its own traditions.발음듣기
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[Beth Harris] The respect for human anatomy, and for portraying that naturalistically, that's not important to Mannerists.발음듣기
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In fact, I think there's a letter from one Mannerist artist to another Mannerist artist, where he said something like, take a left hand and put it on a right arm.발음듣기
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Look at the relationship between the vase that's being held by the angel in relationship to his/her thigh.발음듣기
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Look at the relationship between the massive Virgin Mary and the prophet in the lower right corner that is presumably impossibly far away, but somehow just a tiny figure at the feet of the Virgin.발음듣기
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[Beth Harris] And look too at the way that the Virgin holds her hand to her chest with these impossibly long, almost boneless fingers.발음듣기
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[Steven Zucker] Or that kind of willful compression that creates a sense of almost the impossible.발음듣기
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If you look at the columns on the right, there's actually a colonnade that is so deep in space and seen at such an oblique angle that it almost seems like a wall or a single column.발음듣기
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But if you look closely at the base, you can see the alternating light and shadow that passes between those columns.발음듣기
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But there is ambiguity, and that's in large part because that part of the painting is not finished.발음듣기
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So Mannerism, it seems to be this intense reaction to the perfection of the High Renaissance.발음듣기
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You have the Renaissance, in the sense, building itself into a kind of extreme naturalism, and then it seems to be almost a kind of flailing reaction against those strictures.발음듣기
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[Beth Harris] Or a sense that there was nowhere to go, except to do something really different.발음듣기
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And I think it's important to recognize that there was a very specific, very learned audience for these kinds of paintings.발음듣기
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