Word: mannerists
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Dates: during 1970-1979
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...most romantic and picturesque spaces, like an old Polish synagogue, that recent architecture has to offer. Nothing in this building could be called revivalist;, everything is quotation and proposition, exaggerated detail held in parentheses. Venturi seems to be expressing the same sort of relationship to the past that theorizing mannerist architects like Vasari, in the 16th century, had with Michelangelo's more heroic prototypes...
...Freedberg, who admits to not caring for American art, is an expert in Italian "mannerist" paintings. This decadent school following the great period of rennaissance can be recognized by attenuated figures and women gazing maukishly heavenward amid swirls of skillfully painted drapery and arabesques--interesting to him perhaps, but to ordinary bread eating mortals like ourselves they are better for giving away than viewing...
...most acrid denunciations were reserved for Rembrandt and Rubens, in whose "dark caverns" and "hellish brownness" the true lessons of Raphael and Michelangelo were, in his opinion, lost. His own images were overwhelmingly linear, his style based on outline and infill. The line recalls its 16th century sources in mannerist engravings (Blake never crossed the channel, and so had to depend on prints for his contact with Michelangelo). His famous Glad Day, showing Albion, the spirit of resurgent England, in mid-dance with his arms flung ecstatically wide, was based on a mediocre diagram of Vitruvian...
...radiant flesh, whose bodies we feebly classify as "fat"-seem, as Sir Joshua Reynolds once remarked, to have "fed upon roses." The late landscapes he painted around Chateau de Steen, his country seat out side Brussels, are an extraordinary blend of the God's-eye-view landscape of mannerist art with the dense enumeration of Rubens' own material possessions...
...1890s, the story focuses on Harry Brown Jr., a black hoofer played with high-stepping panache by Glynn Turman. Dreaming of fame on the minstrel circuit, he teams up with Charlie Bates, a shady con-mannerist portrayed by Tony Award Winner Ted Ross (The Wiz). The stage is still the white man's domain, however, and Bates, Brown and their fellow black performers must stick to the formula of blackface makeup and plantation humor. They are forced, in vaudeville's looking-glass world, to imitate the white man's parody of blacks...