Today, art historians no longer look at the art of this period with such a vision. They generally recognized its creativity and thought that handicraft art was actually a resistance to the classical balance of art in the heyday of the Renaissance. This style first appeared among young painters in Florence. 152 1 year, Rosso Florentino wrote Putting Christ on the Cross, which fully expressed this new artistic idea. Against the background of the deep sky, the figure forms spread like cobwebs, and this diagonal lattice composition has an amazing impact, which is unprecedented in the history of painting. The characters in the painting are excited but hard, as if their agitation was frozen by a sudden freezing rain. Harsh colors and bright but unreal light enhance the nightmarish effect of the scene. In this painting, the artist aims to present a subjective and even illusory "inner image". If Italian art in the Renaissance harmoniously combines classical art with nature, then art in the period of artificialism is to let this inner image override the dual authority of nature and the ancients, and create a disturbing, stubborn and imaginative style to express the anxiety in the depths of human soul.

This kind of mental anxiety is rooted in the painter himself. Rosso's painting friend Pontomo was eccentric and shy, and finally shut himself up at home, isolated from the outside world.

I haven't seen my friend for weeks. His sensitive essay "Girl's Exercise" fully embodies his own character. The painter stared anxiously at the emptiness in front of him, as if vaguely recalling some kind of mental trauma, hoping to retreat completely from the outside world to a safe place.

The styles of Rosso and Pontomo are anti-classical in nature, representing the first stage of the technical period, which was soon replaced by his other side. At this stage, the artist no longer depicts the disturbance of the mind, but pays more attention to the form change of the picture itself. He did not openly oppose the classical tradition and paid little attention to subjective feelings, but in essence he deviated from the confident and steady style in the heyday of the Renaissance. Palmagio's self-portrait in the convex mirror represents this tendency. As can be seen from the painting, the painter is affable in appearance and well dressed, and the picture is shrouded in a subtle Leonard multi-modal hazy feeling. The deformation of characters is not random, but intentional. In fact, this deformation is the theme of the whole painting. This painting records the artist's reflection in a convex lens. Previous painters used mirrors to help them observe. For example, Javn van Eyck uses a mirror to check the image to eliminate distortion, and at the same time, he also uses a mirror to directly reflect the same scene in the painting to increase the witness authenticity of the picture. Why is Pamir Giannino so keen on painting self-portraits seen through the mirror? He is going to use a mirror instead of painting. His painting is actually painted on a convex transparent board specially prepared by him to make it look like a convex lens. He may want to prove that there is no only accurate reality in the world, and deformation is actually as natural as the normal state of things. However, his scientific detachment quickly went to the other extreme. Parmaniano, like Raphael and giorgione, is a short-lived painter. Vasari recorded in Who's Who that before the end of Palmegiano's life, he was addicted to alchemy and forgot to clean himself up. "Beard is full, hair over the shoulder, absent-minded. He has become a savage. " It is completely different from the painter in the well-dressed self-portrait.

Palmiano lived in Rome for several years, and soon after returning to his hometown of Palma from Rome, he created the famous oil painting "The Statue of Our Lady with a Long Neck". He must have studied Raphael's works carefully in Rome. In Our Lady with a Long Neck, we can feel the beautiful charm of Raphael, but he transformed Raphael's biological mother into a new type. Smooth as ivory, slender limbs are faint, symbolizing an ideal of beauty, as far away from nature as Byzantine figures and nature. Character scenes are also constructed at will. A row of huge columns occupied the middle scene of the picture aimlessly. In front of it stood a prophet out of proportion to the pillar. The whole painting has no classical values such as nature and rationality put forward in the Renaissance, and the painter seems to deliberately disturb our expectations and prevent us from measuring everything in the painting by the standard of daily experience. In this sense, we can understand the meaning of technicalism, which mainly refers to an "artificial" style. "Artificial" is a neutral word, and its derogatory meaning is "affectation". Notre Dame de la Neck is a perfect video with obvious "artificial" style, and its Leng Yan charm and touching power are no less than Rosso's violence.

Exquisite skills revived the patterning tradition of medieval art to some extent, and bronzino's Eleanor of Toledo and Giovanni de Medici are typical examples. The first thing that catches our eye is the beautiful and complicated clothing patterns of the people in the painting, and the head of the painted person on this luxurious clothing is expressionless, just like a beautiful and smooth porcelain statue, with no intimacy of personality and maternal love, just as a symbol of superior social members. Therefore, handicraft art is especially suitable for the tastes of some princes and nobles. The Grand Duke of Tuscany appreciates this style very much, and so does French King Francis I. Handicraft soon became an international style, just like Gothic art.

This technique style began in Florence and flourished in Venice. Tintoretto is a representative of Venetian art. Tintoretto studied painting in Titian Studio, where he learned his teacher's painting skills. However, he is an original artist. As mentioned above, Florence technicalism has two tendencies, one is anti-classical and the other is graceful and elegant. Tintoretto wanted to combine these two tendencies. At the same time, according to legend, he decided to "paint like Titian and design like Michelangelo." What he means is to combine the colors of Titian with Michelangelo's sketches to create a unique new art. In fact, the relationship between Tintoretto and Titian and Michelangelo is as strange as that between Palmiano and Raphael. Tintoretto prefers a strong sense of perspective and even abrupt composition, and the characters in his works have different postures, which often have a strong shortening effect. He grew up in an anti-reform environment. He is extraordinary and full of fanatical piety, but he is constantly changing. His personality is diametrically opposed to that of Teacher Titian.

Tintoretto's religious paintings are full of emotional inspiration. Standing in front of his masterpiece The Passion of the Christ, our souls will be immediately shocked, just like hearing a thunder, and we will be at a loss and stumble like the characters in the painting. This painting is a panoramic painting, extending from one wall to another, covering the partition and extending to the zenith. The foreground figures are bigger than the real people, and countless other figures have big movements and strong perspective. However, this seemingly mixed crowd, under the illusory light, has formed a dramatic unified whole. Christ was crucified in isolation, and the strong diagonal lines of the picture all crossed Christ, forming a double triangle in the center of the picture, firmly pulling the whole turbulent picture and highlighting the main image and plot.

Tintoretto's complicated and turbulent pictures always give us great spiritual shock, so that we have no time to appreciate the wonderful details in his paintings. The Last Supper is an important work in his later period, and it is also the most striking one. We know that a century ago, leonardo da vinci created a masterpiece with the same theme. Tintoretto's paintings completely deny the classical values embodied in Leonardo's works. Although the image of Christ is still in the center of the picture, the dining table is not on the opposite side of the picture, but inclined, forming a strong sense of perspective in the picture, which greatly reduces the image of Christ sitting in the center. We can only confirm this image according to the bright light wheel on his head. This painter is obviously painting scenes of daily life, not religious themes. There are not only twelve apostles in the picture, but also others. There are utensils for food and wine everywhere, as well as domestic small animals. The scene is noisy and messy, full of the breath of daily life.

However, painters don't paint these things for everyday scenes. His aim is to create a dramatic contrast between the natural world and the supernatural world through this atmosphere. There are secular participants and participants from heaven in the picture. The smoke released by the burning oil lamp magically turned into a cloud on which angels rode and flew to Christ, who was distributing bread and wine (representing his body and blood) to the apostles. Judas the traitor sat at the other end of the table. He was so small that no one noticed him. Tintoretto's main intention in this painting is not to show the uproar caused by the apostles when they heard that the Lord told them that someone was going to sell him, but to reproduce the miracle of the Eucharist variant with visual images: how the secular bread and wine became the body and blood of Jesus after being sanctified in mass.

From Tintoretto, the most important Venetian painter, Paolo Veroni. The styles of these two painters are quite different. But both are stars in the eyes of the public. Veronica's masterpiece is Christ in levi's Home, which has the same theme as Tintoretto's The Last Supper, but its expression and artistic conception are completely different. First of all, Tintoretto involved the characters in the picture into a restless and chaotic scene, which made us unable to see the details of the picture for a while. It is like Beethoven's symphony, which brings our emotions to a climax at once, while Willoni restores the calm of the picture, aiming at letting us calmly participate in the activities in the painting and recognize the every move of the people around us. There is nothing beyond nature in his paintings. At first glance, this painting seems to be a work in the heyday of the Renaissance, half a century behind the times. Looking closely, this painting lacks the ideal concept of human beings emphasized by art in the heyday of the Renaissance. Willoni painted a feast in China, a feast for the eyes, but he didn't mean to show that "man is the intention of the soul". We don't know which story of Christ he wants to describe. This painting aroused the disgust of the church, and someone accused him of adding "clowns and other vulgar and stupid things" to the painting, which was suspected of blasphemy. It was not until he was summoned to appear in court for trial that he gave the painting its current name. Willoni denied the charges against him, insisting that he had the right to describe the details directly from his life, no matter how "inappropriate". Willoni doesn't value the subject matter of painting, because he thinks that the whole visible world is the artist's expression range, and within this range, he only recognizes one kind of authority, that is, his senses, his eyes and all other authorities should be rejected. This shocking view will of course be strongly opposed by the Verona era. It was not accepted until19th century. Impressionist painters can't wait to type Correggio-style slogans and go outdoors to paint what they saw with their own eyes. In this respect, Correggio can be said to be the pioneer of western realistic art.