My aim here is to render Mannerism separable again from the Baroque. Attempts by art history and art criticism to define Mannerism will be juxtaposed with close-readings of key passages in Deleuze’s work, especially from Francis Bacon. The Logic of Sensation, which considers the art of 20th-century British figurative painter Francis Bacon, as well as from The Fold. From the concept of the “Figure” developed in the former, I will distill an initial concept of Mannerism as an art that proceeds by way of diagrammatic deformation. I will then compare this concept to Deleuze’s concept of the Baroque (the “fold taken to infinity”) and argue that, while the Baroque pushes the anti-classical and revolutionary “catastrophe” of Mannerism to the extreme, it simultaneously and paradoxically forms a conservative and restorative reaction to it. It is by exploring Mannerism’s “very particular relations” with the Baroque, finally, that we can also discover in Mannerism a precursor to 20th-century Modernism, and in Deleuze’s modernist allegiance, several neo-mannerist tendencies.