In this early period he seems to have been free from direct Italian influence although he showed the indirect influence of Italian art as transmitted by his master Pieter van Lint. His work of that time was close to the Flemish-influenced Italian art then current in Genoa. In the Dispute of St Catherine of Alexandria with the philosophers before Maxentius he comes particularly close to works of Pieter van Lint such as van Lint's Christ healing the lame at the pool of Bethesda (1640s, Kunsthistorisches Museum, Vienna). The pieces created in Cosenza in 1703-1706 show stylistically a Flemish basis over which a layer of pre-rococo sensitivity has been laid. At the same time the works reveal some late Manierist elements, possibly absorbed from Pieter van Lint, and visible in the lengthened and graceful figures. These works display an originality in design and an exquisite palette. Borremans' use of brilliant reds and full-bodied blends, as well as the detailed rendering of the fabrics and the different pieces of flowers show his 17th century Flemish heritage. These works also show similarity to the work of other pupils of van Lint such as Godfried Maes whose work also shows a tendency to lengthen the forms and use soft subjects. His brushstrokes in these works is lively and his compositions are balanced. In his Naples paintings dating to 1708-1709 he showed a similarity to the work of Luigi Garzi, a Roman influence that may also have been the result of the influence of followers of the Roman style in Naples such as Luca Giordano and Paolo de Matteis. His masterpieces include the remarkable series of frescoes in the Basilica di Santa Maria Assunta in Alcamo, the Chiesa delle Anime Sante in Enna, the Chiesa di San Giuseppe in Leonforte and the Chiesa dell'Assunta di San Giuseppe dei teatini in Palermo. Selected works Frescoes in the Chiesa dei SS. Quaranta Martiri alla Guilla and Chiesa di S. Maria di Montevergini in Palermo Frescoes in the Chiesa Madre or Basilica di Santa Maria Assunta, Alcamo Annunciation in San Michele Arcangelo ai Minoriti, Catania Frescoes (started 1722) in the Cathedral Santa Maria la Nova and in the Church of St. Agatha in Caltanissetta Ceiling frescoes of the apse of the Chiesa di San Vincenzo Ferreri, and a Glory of San Vincenzo Ferrere (1717), both in Nicosia, Sicily Sources 'Flemish Masters and Other Artists: Foreign Artists from the