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In the pursuit of the church to bring back to the faith in Christianity, the religious institution has hired artists to create artworks that are filled with intense emotions.
This can be seen on how one of the premier painters, Michelangelo Caravaggio used diagonal lines and painterly techniques, especially the chiaroscuro, to provide depth, emotions and sensuality in his paintings. One of the noticeable paintings is the Supper at Emmaus. In this case, there is a realistic portrayal of the narrative of the last supper, which is a clear diversion from the traditional linear perspective presentation.
In the paintings, it can be seen that the image is taken as a complete whole. If one of the elements is taken away, it loses it the essence. Another common property of these artworks is to extend the artworks confinement beyond the canvas.
This can be seen also in the way sculpture and architecture interacted to convey the intensity of emotions that totally redefined views on art. Gian Lorenzo Bernini’s work Esctasy of St. Theresa is one the groundbreaking artworks of the said period that shows a religious subject matter that was conveyed in a highly emotional composition. In this sculpture, the light shows the angel’s role as messenger by carrying an arrow to be used as a piercer for St. Theresa’s heart. Inasmuch, the suspended emotions of St. Theresa, in a state of ecstasy creates awe because of her reclining form and expression of an intense emotion as a response to the angel’s gestures. At the same time, the sculpture interacts with the architecture because it can be seen as an altar.
It can be seen that flow or movement present in the artworks, together with the way they are situated posits intense emotionality. The traditional, religious images (having halos and other divine attributes) have been converted into
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