The Catholic Church was the biggest art commissioner for many centuries. Even when the word artist didn’t have the modern meaning we use today – as the art maker as a scientific professional – that institution incorporated art in its speech. It formally overtook the State political and economic power, and communication, which is one of the art characteristics, was recognized as a link to keep the believers.
But after the first Reformantionist Riot, lead by Martin Luther in 1517, the relation between art and church has changed. The list of 96 theses that were fixed at the Castle of Wittenberg Church’s door became the basis of Lutheranism and, consequently, the following reformist movements in Northern Europe.
One of the theses was the iconoclasm, which was related to the return of the initial liturgy, introduced a new commissioner to artworks that were the recently wealthy bourgeoisie, formed by merchants. If we compare the Baroque production of Northern Europe with the rest, we’ll realize that the mythological, religious and state themes are substituted by still life and portraits.
The art market has changed with those changes, as the core is relocated to civil society that was assuming as the center of the wealthy. The rise of the Dutch Golden Era has contribuited for shift the Art History course, as trade made possible the exchange between European regions and suddenly many art centers were competing with Italian tradition. Thus, Italian artists, who were considered the art standards, were getting influenced by artists from the new art centers.
