Originating in Italy in the 16th century, mannerism began to develop in reaction to the Renaissance ideal of harmony. This stylistic expression, which went on into the first years of the 17th century, was characterised by original and lively scenes where drama and fantasy were brought together in a play of sharp, luminous colours. Young artists were finding bold solutions for the layout of their compositions, as can be seen in Salviati's painting Adam and Eve.
In France, Charles Le Brun was in the artistic forefront as Louis XIV's official painter, who was then succeeded by Pierre Mignard, a moderate classicist. Nicolas Poussin and Simon Vouet had a determinant influence on artists such as Sébastien Bourdon and his pupil Antoine Paillet. In Italy, the emergence of the baroque style aroused a new period of artistic activity during which the most diverse influences merged.
The works presented here bear witness to the diversity of pictorial trends that were then inextricably linked to the geographical and political history of a country immobilised by its territorial division. At the dawn of the 17th century, while mannerism was tapering into illusive refinements and Caravaggio had given the best of his art (he died in 1610), the diverse artistic movements were separated into distinct geographical areas; Genoa and Milan for Carlo Francesco Nuvolone, Florence - still marked with the mannerist style of Francesco Curradi, Rome for Pier Francesco Mola.
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