Northern Mannerism - Netherlands Mannerism

Netherlands Mannerism

Whereas the artists of both Fontainebleau and Prague were mostly provided with a home so congenial in both intellectual and physical terms that they stayed to the end of their lives, for artists of the last Netherlandish phase of the movement Mannerism was very often a phase through which they passed before moving on to a style influenced by Caravaggio.

For Hendrik Goltzius, the greatest printmaker of the day, his most Mannerist phase under the influence of Spranger only lasted for the five years between 1585, when he engraved his first print after one of the Spranger drawings brought from Prague by Karel van Mander, to his trip to Rome in 1590, from which he "returned a changed artist. From this time on he no longer made prints after Spranger's extravaganzas. The monstrous muscle-men and over-elongated female nudes with tiny heads ... were replaced by figures with more normal proportions and movements." Spranger's work "had a wide and immediate effect in the Northern Netherlands", and the group known as the "Haarlem Mannerists", principally Goltzius, van Mander, and Cornelis van Haarlem was matched by artists in other cities.

Partly because most of his Netherlandish followers had only seen Spranger's work through prints and his mostly very free drawings, his more painterly handling was not adopted, and they retained the tighter and more realistic technique in which they had been trained. Many Dutch mannerist painters could switch styles depending on subject or commission, and continued to produce portraits and genre scenes in styles based on local traditions at the same time they were working on highly Mannerist paintings. After his return from Italy Goltzius moved to a quieter proto-Baroque classicism, and his work in that style influenced many.

Joachim Wtewael, who settled in Utrecht after returning from Italy in 1590, drew more influence from Italian Mannerists than from Prague, and also continued to produce kitchen scenes and portraits alongside his naked deities. Unlike many, notably his fellow Utrecher Abraham Bloemaert, once Wtewael's repertoire of styles was formed, he never changed it until his death in 1631.

For painters in the Low Countries there was also the alternative of traditional Northern realist styles, which had continued to develop through Pieter Bruegel the Elder (d.1567) and other artists, and in the next century were to dominate the painting of the Dutch Golden Age. Despite his visit to Italy, Brughel certainly cannot be called a Mannerist, but just as his paintings were keenly collected by Rudolf, Mannerist artists, including Gillis van Coninxloo and Bruegel's son Jan, followed him in developing the landscape as a subject.

Landscape painting was recognised as a Netherlandish speciality in Italy, where several Northern landscapists were based, such as Paul and Mattheus Brill, and the Germans Hans Rottenhammer and Adam Elsheimer, the last an important figure in the Early Baroque. Most still painted Netherlandish panoramas from a high view-point, with small figures forming a specific subject, but Gillis van Coninxloo followed the earlier Danube School and Albrecht Altdorfer in developing the pure and "close-up" forest landscape in his works from about 1600, which was taken up by his pupil Roelandt Savery and others. Bloemaert painted many landscapes reconciling these types by combining close-up trees, with figures, and a small distant view from above to one side (example below). Paul Brill's early landscapes were distinctly Mannerist in their artificiality and crowded decorative effects, but after his brother's death, he gradually evolved a more economical and realistic style, perhaps influenced by Annibale Carracci.

Still-life painting, usually mostly of flowers and insects, also emerged as a genre during the period, re-purposing the inherited tradition of late Netherlandish miniature borders; Jan Brueghel the Elder also painted these. Such subjects appealed to both aristocratic patrons and the bourgeois market, which was far larger in the Netherlands. This was especially so in the Protestant north, after the movement of populations in the Revolt, where the demand for religious works was largely absent.

Karel van Mander is now remembered mainly as a writer on art rather than an artist. Though he endorsed the Italian hierarchy of genres, with history painting at the top, he was readier than Vasari and other Italian theorists (above all Michelangelo, who was brusquely dismissive of 'lower' forms of art) to accept the value of other specialized genres of art, and to accept that many artists should specialize in these, if that is where their talent lay. Specialization of many artists in the various genres was well advanced by the end of the century, in both the Netherlands and Prague, exemplified by Bruegel's two sons, Jan and Pieter, though it was also typical of the period that they both had more than one speciality during their careers. Although landscapes, scenes of peasant life, sea-scapes and still lifes could be bought by dealers for stock, and good portraits were always in demand, demand for history painting was not equal to the potential supply, and many artists, like Cornelius Ketel, were forced to specialize in portraiture; "artists travel along this road without delight", according to van Mander.

The Mannerist painters in the now permanently separated southern provinces of Habsburg Flanders in fact were less influenced by Prague than those in the United Provinces. They had more easy access to Italy, where Denis Calvaert lived from the age of twenty in Bologna, though selling much of his work back to Flanders. Both Marten de Vos and Otto van Veen had travelled there; Van Veen, who had actually worked in Rudolf's Prague, was the founder of the Guild of Romanists, an Antwerp club for artists who had visited Rome. They were more conscious of recent trends in Italian art, and the emergence of Baroque style, which in the hands of Van Veen's pupil from 1594 to 1598, Rubens, would soon sweep over Flemish art. In religious works, Flemish artists were also subject to the decrees of the Council of Trent, leading to a reaction against the more extreme virtuosities of Mannerism and to a clearer, more monumental style akin to the Italian maniera grande. In the retables of de Vos, for example, "a tempered Mannerism is combined with a preference for narrative that is more in line with Netherlandish tradition".

In Flanders, though not in the United Provinces, the mostly temporary displays for royal entries provided occasional opportunities for lavish public exhibitions of Mannerist style. Festival books recorded the entries into Antwerp of French princes and Habsburg archdukes.