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
Composition
Averaged over 13 works: 51% of the visual weight in the right half, 50% in the upper half; symmetry 0.40; 21% calm space; half of the detail in 31% of the canvas. Measured from each image, not a rule the painters followed.
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