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Beazley's own conclusion can be summarized as follows: the Pan Painter was a Mannerist, and Myson was the teacher of the Mannerists; therefore, Myson was the teacher of the Pan Painter.
David Martin, writing over thirty years ago in a journal article, entitled |On Enjoying Decadence', noted that what we get from the Mannerists is |the "existential self" .
Mannerists flaunted artifice in the century of their dominance (from about 1520 until 1620), as well as elegance, exaggeration, virtuosity, grace, willfulness, sophistication, preciosity, affectation and caprice-all the things late Romantics despise.
Focusing on the latter, this show examines the artist's debt to the Mannerists, juxtaposing 125 of his photos of classical busts and artfully truncated nudes with Renaissance statuary, woodcuts, and engravings.
But in terms of their delicacy and elegance, of the jeweler's virtuosity with which these scenes of severe agony are depicted, they belong with the Mannerists (the demonic goldsmith Cellini is the Mannerist artist par excellence).
He would learn about abstraction and various interpretations of the sublime from some of the best, but he would not follow the path of so many second- and third-generation abstract mannerists.
In his study "Figura serpentinata: Von der Renaissance zur maniera" Emil Maurer investigates the question of that s-shaped, flame-like figure favored so much by the mannerists.
The Italian Mannerists who were the epigone of Michelangelo responded to his Neoclassicism by deliberately going against its gram, answering his new norms of balance and wholeness with calculated, at times cynical, perversity and unbalance-a reversal of values that became a value in itself, as well as a source of elegance.