北方矯飾主義

北方矯飾主義（Northern Mannerism）是16世紀和17世紀初阿爾卑斯山以北視覺藝術的風格^[1]。大約從17世紀中葉開始，荷蘭和其他地方發現了大量源自義大利矯飾主義的風格，尤其是在建築裝飾中；本文將重點關注北方風格主義產生其最具原創性和獨特作品的時代和地點。

北方矯飾主義風格的三個主要中心分別是：法國（尤其是在1530年至1550年期間）、布拉格（自1576年起）以及荷蘭（自1580年代起）。前兩個階段主要由皇室贊助。在17世紀的最後15年裡，這種風格在義大利已經過時，並在北歐廣泛傳播，主要透過版畫傳播。在繪畫領域，在卡拉瓦喬和早期巴洛克風格的影響下，矯飾主義在新世紀趨於迅速消退，但在建築和裝飾藝術領域，其影響力更為持久^[2]。

参考資料

^ The different definitions of what constituted Italian Mannerism are notorious, and have a knock-on effect in defining the northern versions. For the purposes of this article, the term is used broadly in the sense set out in Shearman (pp. 15–32 in particular), though in a rather wider sense when ornament is discussed. See Smyth, and especially its Introduction by Cropper for an account of the differing ways the term has been used by art historians.
^ Simon Jervis, Printed Furniture Designs Before 1650 (Furniture History Society), 1974.

参考文獻

Blunt, Anthony, Art and Architecture in France: 1500–1700, 1957, New Haven, CT: Yale University Press, 1999 edition, ISBN 0-300-07748-3
Malcolm Bull, The Mirror of the Gods, How Renaissance Artists Rediscovered the Pagan Gods, Oxford UP, 2005, ISBN 0-19-521923-6
André Chastel, French Art: The Renaissance, 1430–1620, translated by Deke Dusinberre, Paris: Flammarion, 1995, ISBN 2-08-013583-X
Freedberg, Sydney J., Painting in Italy, 1500–1600, 3rd edn. 1993, Yale, ISBN 0-300-05587-0
Anthony Griffiths & Craig Hartley, Jacques Bellange, C. 1575–1616, Printmaker of Lorraine, British Museum Press, 1997, ISBN 0-7141-2611-X
Jacobsen, Karen, ed. (often wrongly cat. as Georg Baselitz), The French Renaissance in Prints, 1994, p. 470; Grunwald Center, UCLA, ISBN 0-9628162-2-1
Lisa Jardine and Jerry Brotton, Global Interests: Renaissance Art Between East And West, London: Reaktion Books, 2005, ISBN 1-86189-166-0
Metzler, Sally, Artists, Alchemists and Mannerists in Courtly Prague, Wamberg, Jacob, ed: Art & alchemy, Museum Tusculanum Press, 2006, ISBN 87-635-0267-4, ISBN 978-87-635-0267-2
Shawe-Taylor, Desmond and Scott, Jennifer, Bruegel to Rubens, Masters of Flemish Painting, Royal Collection Publications, London, 2008, ISBN 978-1-905686-00-1
Slive, Seymour, Dutch Painting, 1600–1800, Yale UP, 1995,ISBN 0-300-07451-4
Smyth, Craig Hugh, Mannerism and Maniera, 1992, IRSA, Vienna, ISBN 3-900731-33-0
Shearman, John. Mannerism, 1967, Pelican, London, ISBN 0-14-020808-9
Roy Strong; Art and Power; Renaissance Festivals 1450–1650, 1984, The Boydell Press; ISBN 0-85115-200-7
Trevor-Roper, Hugh; Princes and Artists, Patronage and Ideology at Four Habsburg Courts 1517–1633, Thames & Hudson, London, 1976, ISBN 0-500-23232-6
Wilenski, R. H.; Dutch Painting, "Prologue" pp. 27–43, 1945, Faber, London
Hans Vlieghe, Flemish Art and Architecture, 1585–1700, New Haven (CT): Yale University Press/Pelican History of Art, 1998, ISBN 0-300-10469-3
Zerner, Henri, Renaissance Art in France. The Invention of Classicism, translated by Deke Dusinberre, Scott Wilson, and Rachel Zerner, Paris: Flammarion, 2003, ISBN 2-08-011144-2

[1] The different definitions of what constituted Italian Mannerism are notorious, and have a knock-on effect in defining the northern versions. For the purposes of this article, the term is used broadly in the sense set out in Shearman (pp. 15–32 in particular), though in a rather wider sense when ornament is discussed. See Smyth, and especially its Introduction by Cropper for an account of the differing ways the term has been used by art historians.

[2] Simon Jervis, Printed Furniture Designs Before 1650 (Furniture History Society), 1974.

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