Italy has one of the largest artistic heritages in the world, and there are just as many places that guarantee the preservation and exhibition of the works of art that make it up, to the point that the entire peninsula is scattered throughout the country, making it one big museum of eternal beauty.
For you curious reader-spectators, Milan opens the doors of its two most famous art galleries, the Ambrosiana and the Brera.
AWandering through cantons and campielli, across bridges and canals, Venice leads art lovers among the works exposed in the place that is the heart of Venetian painting: the Gallerie dell'Accademia.
Sicily is rich in Greek archaeological sites scattered mainly along the coast, where the most important Greek colonies were located. Sometimes, the remains of that ancient civilisation can be found in the streets of Sicilian towns and cities, enveloped (or encompassed) by modern buildings.
In the imagination of ancient Greek art, painting seems to play a minor role compared to architecture and famous sculptures, but is this really the case? In truth, we know that painters enjoyed the same prestige as sculptors, if not greater, and that great paintings adorned the halls of palaces, but unfortunately we can only imagine that wonder.
The Etruscans were a people who lived between the 9th century and the 1st century B.C. in a large part of Italy, more precisely from what is now southern Veneto and south-eastern Lombardy to some areas of Campania, passing through Latium, Umbria, Tuscany and Emilia-Romagna. But in addition to the military skills that enabled it to expand so much, the Etruscan civilisation distinguished itself for an important artistic production that arose during the Villanovan period (900-720 BC) and was subsequently developed thanks to the continuous trade with the Greeks.
Despite a very short career of only ten years, prematurely cut short by the plague epidemic that raged through Venice at the beginning of the 16th century, Giorgione's great skill nonetheless enabled him to assert himself decisively and achieve legendary fame immediately after his death, imposing himself (with some of his important innovations, first and foremost tonalism) as a model not only for the subsequent painting tradition in the lagoon
In the consciousness of medieval man, death was an inescapable presence in reality: the constant plagues and famines or the constant periods of conflict in those years were all events that certainly contributed to shortening the duration of an individual's life and bringing closer the moment of death.