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This exhibition focuses on how cultural influences were exchanged through immigration and movement in the 16th century throughout Germany and other European countries. The 16th century is where we begin to see people of color interacting and entwined in tradition in Italy, Portugal and Germany. Each of the works in this exhibit illuminate how cultural influences were exchanged. Identities, traditions, ideas and artistic techniques shifted and were molded through people moving around the world and interacting with eachother.

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Paolo Veronese, Last Supper (Feast in the House of Levi) (1573), Oil on Canvas, sixteenth- century Italian mannerism, Gallerie dell'Accademia

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Paolo Veronese, Last Supper (Feast in the House of Levi) (1573), Oil on Canvas, sixteenth- century Italian mannerism, Gallerie dell'Accademia

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Originally titled, "The Last Supper," Veronese was compelled by the Inquisition to change the title to "Feast in the House of Levi." This change shifts the focus from Jesus Christ, the man in the center of painting at the table, to the figures in movement around him. This could reveal Veronese's interest in the grandeur life in Venice rather than religion. In this painting there are people from different regions of world and social classes. The diversity of these figures in culture and social depictions highlights how Veronese's Venice was a hub for trade, culture and wealth. These figures are engaged in conversation with each other in a way that shows the viewer how ideas and cultures were possibly exchanged.

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Unknown Flemish Painter, The King's Fountain (ca. 1570-1580), Oil on panel, sixteenth- century Portugal, Barado Collection Museum 

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Unknown Flemish Painter, The King's Fountain (ca. 1570-1580), Oil on panel, sixteenth- century Portugal, Barado Collection Museum 

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This busy scene depicts Lisbon, Portugal. Similarly to Veronese’s painting, the focus of this painting are the figures who are busy with daily life. In contrast to Veronese, this painting portrays the wide range in social strata where Africans are painted as knights as well as slaves whereas Veronese was more interested in illustrating wealth. This painting emphasizes how cultures co- existed at this time and location. One aspect that specifically highlights business trade are the boatmen near the bottom of the painting. This painting brings to light how Africans have been wrongfully portrayed in this era as they travelled to different regions and were fully integrated into society as equals. In addition, human trafficking and slavery routes also became evident in this painting.

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Master of the Goslar Sibyls, The Calenberg Altarpiece (ca. 1500-1524), Oil on panel, German Renaissance, Museum of Fine Arts (Boston)

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Master of the Goslar Sibyls, The Calenberg Altarpiece (ca. 1500-1524), Oil on panel, German Renaissance, Museum of Fine Arts (Boston)

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In contrast to "Feast in the House of Levi" and "The King's Fountain," "The Calenberg Altarpiece" is not as lively. However, the artists still depicts the social strata of Africans. In the far left panel the viewer can see an African man lavishly dressed accompanied by other companions of color. The middle panel also depicts a black lady-in- waiting accompanied by white servants. This further indicates the fusion of culture from Italy and Portugal which now seen in Germany. This painting shows the fusion of cultures in a more pious light as opposed to the other paintings in this exhibit. This piece shows the vast reach of cultural influences across countries.