Northern Mannerism is the form of Mannerism that took hold north of the Alps in the sixteenth and early seventeenth centuries. It arrived in France around 1530, when Florentine artists among them Rosso Fiorentino and Francesco Primaticcio were hired to decorate the palace of Fontainebleau, generating a native style of lavish stucco frames, strapwork and mythological nudes. From 1576 the court of Rudolf II in Prague made the style its own, producing refined, highly finished mythological allegories by Bartholomäus Spranger and spreading them across Europe through prints, above all those of Hendrick Goltzius. In the Netherlands from the 1580s the idiom of the Haarlem Mannerists produced wildly elongated figures and agitated poses before artists moved on toward Caravaggio and the early Baroque.
Lead image of the Wikipedia article "Northern Mannerism".Public domain (credit: Bartholomeus Spranger) · source
Defining characteristics
Elongated, serpentine figures - tiny heads, long tapering limbs and complex spiraling poses
Cool, enamel-like finish and meticulous, jewel-like surface detail
Courtly eroticism: crowded mythological scenes of near-naked gods and nymphs
Dense ornamental vocabulary - strapwork, swags of fruit and sculpted stucco frames around paintings
Brilliant, sometimes acidic color under polished, artificial light
Virtuoso prints that carried the style across northern Europe
Key figures
Rosso Fiorentino(1494-1540) — Florentine painter at Fontainebleau whose ornamental stucco style defined the French phase
Francesco Primaticcio(c. 1505-1570) — Bolognese painter-sculptor who carried the Fontainebleau idiom forward in France
Bartholomäus Spranger(1546-1611) — Flemish court painter to Rudolf II whose mythological allegories anchored the Prague phase
Hendrick Goltzius(1558-1617) — The greatest printmaker of the day, whose engravings spread the style across northern Europe
Joachim Wtewael(1566-1631) — Utrecht painter who sustained an unabashed Mannerist idiom to the end of his life