Movement · 1520–1610

Mannerism

Acid pinks, lemon yellows and shot silks. Color is pushed away from nature toward elegance and strain.

Across 13 works, the colors are mostly brown (48%), black (22%) and gray (12%). On average the canvases are mid-toned, moderately saturated and warm. Signature colors, used far more here than across the collection: charcoal, very dark muted blue, taupe, bistre and dark taupe.

Color print

The swatches covering most of these canvases, averaged over every work, dark to light.

• MG 222 charcoal 9.6% of canvas
• MG 219 bistre 7.4% of canvas
• MG 177 dark taupe 6.3% of canvas
• MG 223 soot 6.1% of canvas
• MG 176 taupe 5.4% of canvas
• MG 218 graphite 4.6% of canvas
• MG 175 stone 3.8% of canvas
• MG 221 blue black 2.8% of canvas
• MG 217 iron 2.7% of canvas
• MG 220 warm black 2.7% of canvas
• MG 168 dark amber brown 2.6% of canvas
• MG 167 brown 2.3% of canvas
• MG 169 dark brown 2.1% of canvas
• MG 181 light sand 2.0% of canvas
• MG 224 black 2.0% of canvas
• MG 174 warm grey 2.0% of canvas

Measurements

Lightness

0.42

Contrast

0.53

Vividness

0.036

Warmth

+0.66

Complexity

187 cells

Hue range

0.46

Focus

0.14

Artists

• Pontormo 1494–1556
• Parmigianino 1503–1540
• Agnolo Bronzino 1503–1572
• El Greco 1541–1614

Works

• Joseph with Jacob in Egypt, 1518
• Self-portrait in a Convex Mirror, c. 1523
• The Vision of Saint Jerome, 1526
• Visitation of Carmignano, 1528
• Portrait of a Halberdier, Francesco Guardi?, 1529
• Madonna with the Long Neck, 1534–1540
• Portrait of Eleanor of Toledo and her son Giovanni de' Medici, c. 1544
• Portrait of Andrea Doria as Neptune, c. 1545
• Venus, Cupid, Folly and Time, 1545
• The Disrobing of Christ, c. 1578
• The Burial of the Count of Orgaz, 1586
• View of Toledo, 1596
• Opening of the Fifth Seal, 1610