The landscapes in three paintings by the Flemish artist Wouwerman connect this gallery with the previous ones. The northern aesthetic now focused on broad horizons and the beauty of the sky. In these open landscapes with their low green hills, ladies and gentlemen set out for the hunt with their dogs and falcons in a vision of the ordered nature of Flemish society. The technique and subject matter of these scenes look forward to the 18th century. The same is true for Murillo in the fi eld of religious painting, who anticipated the tenderness, colouring and delicate brushstroke of the following century. This is evident from a comparison with the works by Goya, visible through an opening in the gallery wall and creating a visual connection with precedents in the Spanish royal collection. Giordano is an outstanding example of the late, decorative Baroque, while his small-format works convey all the grandeur of his frescoes. Two beautiful scenes on copper deploy his legendary virtuoso technique and acknowledged capacity for imitation, which encouraged him to look to northern artists such as Dürer and Lucas van Leyden and to Correggio’s colour and soft brushstroke. The equestrian portraits of Charles II and Mariana of Neuburg reflect the noble spirit of Velázquez’s works in this genre and Rubens’s ability to deploy allegory: Faith for the king and Abundance for the queen. Panini and Conca’s landscapes refl ect the ongoing presence of the classical world, while in his Self-portrait Solimena presents himself as a prince of painting, a status that Dürer had already proclaimed in his self-portrait of the late 15th century. The languid mood of the Bolognese Creti’s nude anticipates Romanticism.

 
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