Mannerism and Baroque
Introduced| English |
|---|
| Mannerist/ˈmænərɪst/ |
| Baroque |
Three techniques, one purpose
- Mannerist 风格主义 and Baroque 巴洛克 artists employed distortion, drama and illusion in their work.
- The three named techniques all move away from the balanced naturalism of 1.2's Italian Renaissance.
- So a change of style is being recorded, and the CED tells you the direction of the change.
Select all three techniques the CED names.
Geometric perspective belongs to 1.2's Italian Renaissance.
Who paid, and why
- Monarchies, city-states and the church commissioned these works as a means of promoting their own stature and power.
- The CED gives the same motive it gave in 1.2 — prestige — but the list of patrons now includes monarchies.
- So the shift in style tracks the shift in who could afford to commission on that scale.
Select all the patrons the CED names here.
Monarchies are the addition compared with 1.2.
Art in a divided Christendom
- Drama and illusion are persuasive techniques, and this is a century in which persuasion had become urgent.
- A church that has just defined itself against a rival (2.5) has a reason to make its case visible and overwhelming.
- So an answer can link style to the confessional conflict without claiming art was simply propaganda.
Technique, patron, or motive?
Sort each element of the change in artistic expression.
The CED's motive for these commissions is...
The same motive as 1.2 — what changed is the technique bought.
The CED gives the same motive for Renaissance and Baroque commissions: prestige. What changed is the technique bought, not the reason for buying — so an answer contrasting sincere religious art with cynical propaganda has invented a distinction the CED does not make.
The CED distinguishes sincere religious art from cynical propaganda.
It gives one motive — prestige — for both periods' commissions.
Comparing with 1.2
- Shared: prestige as motive, and elite patronage.
- Changed: from classical balance and geometric perspective to distortion, drama and illusion.
- Same reason for spending, different thing bought — which is the shape of a good 'how and why art changed' answer.
The named techniques move away from the balanced ____ of the Italian Renaissance.
The CED tells you the direction of the change.
How and why artistic expression changed
- How: named techniques — distortion, drama, illusion — replacing balanced naturalism.
- Why: the CED's stated motive is promoting stature and power, in a century when stature was contested.
- Naming a technique and the patron who paid for it is a complete answer to this objective.
A ceiling painted so that the architecture appears to open into sky is using illusion. The technique is a technical achievement and an argument at once: whoever commissioned it is saying something about the authority of the space beneath it. Style and stature are the same commission.
Mannerist and Baroque artists employed distortion, drama and illusion. Monarchies, city-states and the church commissioned these works as a means of promoting their own stature and power — the same prestige motive as 1.2, with monarchies now among the patrons. The technique changed; the reason for spending did not.