During the late 16th century, many artists and intellectuals began to reject the excesses of Mannerism, which they saw as a departure from the classical ideals of beauty, harmony, and proportion. This reaction was led by the art theorist Giovanni Bellori, who argued that art should be based on the principles of nature and reason rather than the arbitrary whims of the artist.
One of the main criticisms of Mannerism was its tendency towards exaggeration and distortion. This was seen as a departure from the classical ideal of beauty, which emphasized balance, harmony, and proportion. Mannerist artists often elongated figures, twisted them into contorted poses, and used exaggerated gestures and expressions, which some critics saw as a sign of decadence and decline.
Another criticism of Mannerism was its tendency towards obscure and esoteric themes, which were often difficult for viewers to understand. Mannerist artists often depicted complex allegories, mythological scenes, and obscure religious subjects, which some critics saw as a sign of elitism and intellectual snobbery.
In the 20th century, Mannerism underwent a reevaluation, with many art historians and critics recognizing its innovative and experimental nature. Mannerist artists were seen as pioneers of new forms of expression, who pushed the boundaries of traditional art and explored new ways of representing the world.
Despite this reevaluation, some critics have continued to criticize the legacy of Mannerism, arguing that it paved the way for the excesses of Baroque art and the decline of classical ideals. They see Mannerism as a symptom of the cultural and intellectual crisis of the late Renaissance, which led to a loss of faith in reason and a turn towards irrationality and excess.
Finally, some critics have criticized the influence of Mannerism on later art movements, such as the Rococo and Romanticism. They argue that Mannerism's emphasis on individual expression and subjective emotion paved the way for the sentimental and melodramatic tendencies of these later movements, which they see as a departure from the classical ideals of reason, balance, and harmony.
In conclusion, Mannerism has been the subject of both praise and criticism over the centuries. While some have seen it as a departure from classical ideals and a symptom of cultural decline, others have recognized its innovative and experimental nature, and its contribution to the development of new forms of expression. Ultimately, the legacy of Mannerism remains a subject of debate and interpretation, and its influence on later art movements continues to be a topic of discussion among art historians and critics.
