The Flemish Painting
While in Tuscany the deeply innovative art that we call Renaissance is being developed, in the Flanders, Flemish art is born. Great fortune awaits it, and it will have a profound impact on European pictorial representations over centuries to come.
Vedutism is a pictorial genre that flourished during the second half of the Seventeenth century in the Netherlands.
In Italy it developed and spread particularly during the Eighteenth century and generated depictions of architectural perspectives and scenes from cities with glorious histories, like Rome and Venice.
The pictorial current of orientalism started in France at the end of the 1700s – after Napoleon’s expedition to Egypt in 1798 – and then developed in England and throughout Europe.
Between the 1200s and the 1400s, painting developed greatly in Europe and Italy, and in Tuscany and Siena in particular, where it was used initially for altar paintings and later adopted to sacred themed works on wooden planks.
Floral painting began in the Netherlands at the end of the Sixteenth century, with a group of painters among whom Jan Brueghel the Elder (1568-1625), who depicted 58 different species of flowers within a single painting.
From the very beginnings, human beings have, in fact, felt the need to depict in detail what surrounded them, what struck them with its beauty and constituted their main source of sustenance.
The proposal by Annibale Esposti regards the contemporary, collects several collections, which are considered homages to some of the most popular themes in the history of art.