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Some of Willem Hofhuizen’s contemporaries regarded him as a "mannerist". But although he had thoroughly studied the artists of the Mannerist period, such as El Greco, Tintoretto, Vasaci and Titian (if the latter may be called a Mannerist), the only reason why he used exaggerated and distorted human forms in his paintings was to emphasize what he felt to be the static elegance of his subjects, not to create a dynamic effect.