Talk Artsy To Me: Mannerism and Abstraction Edition
Whilst at a school endorsed visit to the Norton Simon Museum in quaint Pasadena, California, I found myself transfixed with “White over Blue,” by Ellsworth Kelly. “White Over Blue,” is a mesmerizing piece which evokes sentiments from mannerist paintings due to the creator’s imaginary use of colour.
From Pontormo to Bronzino during the late Renaissance, many have learned that mannerism is defined as an impactful style that aided Florentine artists in their transition from the prior focus on classical physical perfection, or ideal beauty. These compositions showcased innovative and unusual effects of asymmetry in balance, form, scale, lighting, perspective, and most importantly: colour. Shockingly vivid colours that were used by mannerist artists were completely different from any assortment used previously, and included contrasting colours. The variety of conflicting orange, salmon pink and icy blue hues added to the trajectory of visual arts during the mannerist period. Colour was especially important to mannerist paintings as it was often used to enhance the overall motif of the artwork, as seen in Bronzino’s symbolistic “Venus and Cupid.” This mannerist painting’s aloofness is made even more impactful by the chosen icy hues. Mannerism relied on colour to enhance the revolutionary change in technical quality; colour made the technical transition from realistic to fantasy even more significant, and subversive. Mannerist paintings after the “High Renaissance are flattened and obscured so that the figures appear as decorative arrangement of forms in front of a flat background of indeterminate dimensions” (Encyclopaedia Britannica). The mannerist study of flat subjects juxtaposed by intense colour ways are comparable to the flat study of lurid colour depicted through the work of Ellsworth Kelly.
Kelly’s “White Over Blue,” 1967, acrylic on canvas was found on the lower level of the gallery during an exhibition I had visited in September, 2018. The dimensions were noted as: 114 x 342 x 18 inches (289.6 x 870 x 45.7 cm) (Norton Simon Museum). It is worthwhile to state that the size of “White Over Blue,” is truly palpable upon entering the room that houses it. The white rectangular canvas which slightly eclipses the blue rectangular canvas, and the larger than life scale of the artwork’s entirety is an immersive experience. Its very placement induces kinaesthetic empathy. “White Over Blue,” is a study of colour in its purest form. In fact, it was inspired by the artist’s view of blinds drawn over a blue sky. The focus on depth and the hypnotizing shade of blue, with its movement from white and back to blue, is dramatic to say the least. Ellsworth Kelly’s focus on the interaction of colour mirrors the emphasis on colour created through mannerism. Mannerism would not have been as compelling without the wild intensity of colour that the painters of the time chose to display. Kelly’s use of colour is fantastically stimulating; it channels an emotional and physical connection with the viewer. This visual experience is comparative to mannerist paintings with their elongated figures and shrieking colours which surround them. In the presence of “White Over Blue,” the physical viewer is the elongated figure and the colour; a symphony leading the senses.
Although the poetic use of intense colour, rigid shape of the canvases, and the ambiguity that the genre of mannerism shares with “White Over Blue” is apparent, the tantalizing emphasis on negative space that Kelly employs is a far cry from mannerist icons such as “Pieta” by Pontormo, “Venus and Cupid” by Bronzino, or even Michelangelo’s mannerist phase in “The Last Judgment.” Mannerism often depicts claustrophobic scenes that twist and turn at every angle possible. The canvases are typically overwhelmed with characters. Ellsworth Kelly’s “White Over Blue” directly contrasts these hallmarks of mannerism by providing movement that emphasizes a sense of weightlessness as opposed to contortion. Mannerism was birthed during a moment in art history that was dominated by tempera and fresco painting. “White Over Blue” is acrylic on canvas; a very popular medium of the mid twentieth century. This provides a major contrast in texture; where Kelly’s focus on colour appears to be flawless, mannerist paintings would clearly appear to be painted. The artists of the time felt it necessary to employ noticeable brush work in order to convey their conviction. They were expressing the rejection of classicism’s perfection. Although “White Over Blue,” is as eccentric as mannerist paintings in its use of colour, the lack of colour palette range contrasts mannerism. As previously stated, mannerism challenged tradition and provoked thought with asymmetry in presentation as well as form, unlike “White Over Blue,” which is dependent upon a slight symmetrical change from the shade of white to the colour blue. This transition is seemingly implied rather than exuded.
“White Over Blue,” is a feast for the senses, much like mannerism. The lack of focal point also coincides with mannerism as mannerist paintings did not have a resounding feature focal point. There was so much to study in any area, that a central ideal was definitely not attainable to any viewer. Mannerist stylings and “White Over Blue” share this essence as the dynamic pairing of the given colours also produces no obvious focal point. Seemingly an unlikely pair, mannerism and “White Over Blue,” share critical elements that elicit the same emotions. “White Over Blue,” may not conform to all of the absolute attributes of mannerism, but through its provocative use of flat and delirious colour, rejection of classicism, and lack of concrete focal point; it expresses the fundamental flavour of mannerism. “White Over Blue,” and mannerism are both the visible focus of style and technicality rather than realistic portrayal.
Works Cited
Britannica.com, Editors. “Mannerism.”
https://www.britannica.com/art/Mannerism. Encyclopaedia Britannica Incorporated, May 29, 2018.
Museum, Norton Simon. “White Over Blue. Kelly, Ellsworth.”
https://www.nortonsimon.org/art/detail/P.1969.126a,b. Ellsworth Kelly Foundation, August 24, 2018.
Kelly, Ellsworth, “White Over Blue,” 1967, acrylic on canvas. “114 x 342 x 18 in (289.6 x 870 x 45.7cm)” (Norton Simon Museum, Gift of the Artist).
As a disclaimer: I wrote this compare and contrast essay as my final paper for an art history class. I decided to share it with you, as I was, and am quite proud of my professor’s feedback. I hope you enjoyed reading about the similarities and differences between the mannerist genre of art, and a midcentury abstraction art piece!
Have you studied art before, what did you like or didn’t like about it? Do you have a favourite visual artist or genre of visual arts? Were you aware of abstractionist or mannerist art before reading this article? Let’s talk artsy with each other!