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mannerism

Exaggerated or effected style in art, speech, or other behavior

In fine art, a style that is inspired by previous models, aiming to reproduce subjects in an expressive language

In literature, an ostentatious and unnatural style of the second half of the sixteenth century. In the contemporary criticism, described as a negation of the classicist equilibrium, pre-Baroque, and deforming expressiveness

constant or excessive adherence to one manner, style, or peculiarity, as of action or conduct

Mid-16th-century movement, Italian in origin, although El Greco was a major practitioner of the style The human figure, distorted and elongated, was the most frequent subject

In the artistic literature, a term coined by L. Lanzi at the end of the XVIII century to designate the ostentatious but innatural style of a pictorial current of the second half of the sixteenth century. In the contemporary criticism, the same current, understood as negation of the classicistic equilibrium and as search of a prebaroque, deforming expressivity; the analogue tendency present in the literature of the same age

A style that developed in the sixteenth century as a reaction to the classical rationality and balanced harmony of the High Renaissance; characterised by the dramatic use of space and light, exaggerated colour, elongation of figures, and distortions of perspective, scale, and proportion

In 16th century Italy a style involving deliberate distortions of the traditional motifs in order to individualise the artist In the 20th century, the attribution of importance to the manner in which something is done rather than to the meaning behind it

In the field of figurative arts and of literature, every tendency that is inspired by previous models, aiming to the artificially varied reproduction of their expressive language

A group of dissociated, innatural, affected verbal and mimic behaviours that, in heavy form, are characteristic symptoms of schizophrenic states

The term used by modern critics to designate the figurative manifestations, embracing individual styles and periods of painting, sculpture and architecture in the sixteenth century Mannerism presented aspects of anti-classical and anti-renaissance work

Someone's mannerisms are the gestures or ways of speaking which are very characteristic of them, and which they often use. His mannerisms are more those of a preoccupied math professor. a way of speaking or moving that is typical of a particular person. Artistic style that predominated in Italy from the end of the High Renaissance in the 1520s to the beginnings of the Baroque period 1590. Mannerism originated in Florence and Rome but ultimately spread as far as central and northern Europe. A reaction to the harmonious Classicism and idealized naturalism of High Renaissance art, Mannerism was concerned with solving intricate artistic problems, such as portraying nudes in complex poses. The figures in Mannerist works frequently have graceful but queerly elongated limbs, small heads, and stylized facial features, while their poses seem difficult or contrived. The deep, linear perspectival space of High Renaissance painting is flattened and obscured so that the figures appear as a decorative arrangement of forms in front of a flat background of indeterminate dimensions. Mannerists sought a continuous refinement of form and concept, pushing exaggeration and contrast to great limits. After being superseded by the Baroque style, it was seen as decadent and degenerative. By the 20th century it was appreciated anew for its technical bravura and elegance. Major artists who practiced the style include Parmigianino, Federico Zuccaro, and Il Bronzino

Adherence to a peculiar style or manner; a characteristic mode of action, bearing, or treatment, carried to excess, especially in literature or art

a behavioral attribute that is distinctive and peculiar to an individual

a deliberate pretense or exaggerated display

a way of acting; behavior

A mid-16th-century movement, Italian in origin, although El Greco was a major practitioner of the style The human figure, distorted and elongated, was the most frequent subject

a style of painting in Italy and France about 1520-1600, marked by emotional distortion, harsh coloring, and individualism, said to be a reaction to the art of the High Renaissance; major artists were El Greco and Tintoretto Examples

Exaggerated, artificial adherence to a literary manner or style Also, a popular style of the visual arts of late sixteenth-century Europe that was marked by elongation of the human form and by intentional spatial distortion Literary works that are self-consciously high-toned and artistic are often said to be "mannered " Authors of such works include Henry James and Gertrude Stein

{i} mode of behavior, particular way of acting; affectation, pretention

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