Salon Baroque ya fito ne daga zane-zane na Renaissance, wanda, ya zana kan al'adun Girkanci da na Romawa, ya dace da siffar ɗan adam. Mannerism ne ya gyara wannan, lokacin da masu fasaha suka yi ƙoƙari su ba wa ayyukansu salo na musamman da na kansu. Mannerism ya gabatar da ra'ayin sassaka-kasuwa mai ban mamaki; samartaka da shekaru, kyawu da kyama, maza da mata. Mannerism kuma ya gabatar da macijin figura, wanda ya zama babban siffa na sassakawar Baroque. Wannan shi ne tsarin ƙididdiga ko ƙungiyoyin adadi a cikin karkace mai hawa, wanda ya ba da haske da motsi ga aikin.[6].

Michelangelo ya gabatar da maciji a cikin Bawan Mutuwa (1513-1516) da Genius Victorious (1520-1525), amma waɗannan ayyukan ana nufin ganin su ta hanya ɗaya. A ƙarshen karni na 16 na aikin ɗan Italiyanci Giambologna, Fyade na Mata Sabine (1581-1583). gabatar da wani sabon abu; Ana nufin wannan aikin ba daga ɗaya ba ne, amma daga ra'ayoyi da yawa, kuma ya canza dangane da ra'ayi, Wannan ya zama wani abu na kowa a cikin sassaken Baroque. Ayyukan Giambologna yana da tasiri mai karfi a kan masanan zamanin Baroque, musamman Bernini.

Wani muhimmin tasiri da ke haifar da salon Baroque shine Cocin Katolika, wanda ke neman makamai masu fasaha a yakin da ake yi da haɓakar Furotesta. Majalisar Trent (1545-1563) ta bai wa Paparoma iko mafi girma don jagorantar halittar fasaha, kuma ya nuna rashin amincewa da koyarwar ɗan adam, wanda ya kasance tsakiyar fasaha a lokacin Renaissance.[7] A lokacin Fafaroma Paul V (1605-1621) Ikilisiya ta fara haɓaka koyaswar fasaha don magance gyare-gyare, kuma ta ba da sabbin masu fasaha don aiwatar da su.