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MAX DVOŘÁK BETRACHTET TINTORETTO ODER ŰBER DEN MANIERISMUS

100%
Bałus W.
ARS
|
2011
|
vol. 44
|
issue 1
26-44
EN
The article deals with Max Dvořákk’s handling of Mannerism, exemplified on Tintoretto’s “Crucifixion” in Scuola Grande di San Rocco in Venice. In Mannerist pictures, he found ruptures, symptoms and disturbing traits. To him, all artefacts of this artistic style originated as embodiments of the pure spirituality. He didn’t regard the Mannerist era as an epoch of crisis (as did Alois Riegl and other philosophers and art historians), but as an epoch of subjectivism.
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