Abstract
Criticized for its artifice and stylization, and loaded with negative connotations as manieroso, the art of the sixteenth century nevertheless became, in the 1920s, a new historical and stylistic periodization and an intensely studied subject. Some aspects of that construction of Mannerism as a distinct category are intimately linked to the contemporary development of modernity, and modernism. Mannerism’s ‘discovery’ was closely related to pioneering developments in art and architecture. Furthermore, while Mannerist art was offering up captivating case studies, research on Mannerism adapted models from psychoanalysis, which was maturing in those same years and was crucial to understanding the structure of the modern self and of modern society. Finally, as we will show, the resulting image of the Mannerist architect was seminal in the styling of the figure of the new, modernist architect.
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