After the High Renaissance, two new artistic movements emerged that reflected the tensions of the Reformation era. Mannerism, developed in the mid-16th century, broke from Renaissance balance and harmony by using elongated figures, unusual poses, and unsettling colors, as seen in El Greco's work. Baroque art, dominant from the late 16th century onward, used dramatic lighting, emotional intensity, and dynamic movement to engage viewers, exemplified by Gian Lorenzo Bernini's sculpture, Artemisia Gentileschi's paintings, and Peter Paul Rubens's large-scale canvases. Crucially, monarchies, city-states, and the Catholic Church commissioned both styles to project authority and reinforce their power. The Catholic Reformation used Baroque art specifically to make Catholic doctrine emotionally compelling in the wake of Protestant iconoclasm.
- El Greco: Mannerist painter active in Spain whose elongated figures and intense colors exemplify the break from Renaissance naturalism.
- Artemisia Gentileschi: Baroque painter whose dramatic, emotionally charged works were commissioned for public buildings and exemplify the period's use of art to project power.
- Gian Bernini: Baroque sculptor and architect whose work for the Catholic Church, including St. Peter's Basilica, used drama and illusion to inspire devotion and demonstrate institutional power.
Why did the Catholic Church and European monarchs commission Mannerist and Baroque art? How do these styles differ from High Renaissance art?
| Style | Key features | Representative artists | Primary patrons |
|---|
| Mannerism | Distortion, elongation, unusual poses, unsettling color | El Greco | Courts, city-states |
| Baroque | Drama, dynamic movement, emotional intensity, chiaroscuro lighting | Bernini, Gentileschi, Rubens | Catholic Church, monarchies |