Abstract
The main objective of the study is to highlight the role of pendants in the general context of the jewelry art of the Northern Renaissance and Mannerism, the reasons for the popularization of this type of jewelry and offer a version of their classification. The methodological basis of the study is the application of iconological method of art history analysis to characterize the array of jewelry in the general context of artistic culture of the Renaissance and Mannerism of the countries, located north of the Alps; the historical method — to characterize the jewelry works in a certain chronological sequence, mainly — created in the secondhalf of 16thand beginning of 17thcenturies; comparative method — to compare the stylistic features of jewelry of different countries of Europe and track their transformation over time. The scientific novelty of the study is in the fact that pendants of Northern Renaissance and Mannerism as the most popular type of personal jewelry have never been considered as an object of serious scientific interest, they were characterized previously in general context of arts and crafts of this period. Therefore, this essay attempts to show pendants as an independent phenomenon, a segment of jewelry fashion of the 16thand early 17th centuries in the Ukrainian science of art. The article makes an excursion into the European jewelry of the 16th century, outlines the types of jewelry in demand during this period, shows their main stylistic features. The materials and techniques preferred by the experts of Northern Europe in the 16th and early 17th centuries, the main subjects and ornamental motifs which existed in the decoration of jewelry, the reasons for their popularization are highlighted. A variant of the classification of pendants of this epoch is proposed, in which the dominant motif of the decor is chosen as the main criterion. The characteristics of individual pendants created during the Renaissance and Mannerism in Spain, the Netherlands, England, Germany, France. Data is collected from the collections of the State Hermitage in St. Petersburg, the Art Institute of Chicago, Victoria and Albert Museum and British Museum in London.
Highlights
Almost the entire 16th century, the art of Europe was marked by Mannerism, which was the logical end of the Renaissance for countries, located further north of the Alps
The same can be said about the richness and variety of fanciful ornaments, the quirkiness and tortuousness of the decor, artificially complicated, somewhat neurotic and painful rhythm as external signs of Mannerism – all of these were present in the Northern European jewelry, but slightly later than in Italy
We focus on personal jewels, a wide range of products of which at this time allows us to analyze the leading trends of jewelry of the Northern Renaissance and Mannerism
Summary
Almost the entire 16th century, the art of Europe was marked by Mannerism, which was the logical end of the Renaissance for countries, located further north of the Alps. France is the best successor of Italy, which was among the first to be subjected to the process of “Italianization”, the Netherlands, Spain, Germany, and England were under the capricious, all-consuming influence of the Mannerist art, which encompassed all the spheres of the activities of the artists in Northern Europe until the first decades of the 17th century. It certainly covered the decorative and applied art, primarily, – metal art, in which the Mannerist doctrine, most vividly visualized in the complex of very characteristic features, was shown in the decoration of jewelry. The study of jewelry, namely the Renaissance and Mannerism ones, is among the most promising, albeit very difficult tasks of the art science, because there are many gaps in the field that need to be filled
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