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Portfolio Paolo Veronese. The complete works. (373: Frescoes, Oil, Oil On Canvas, Oil On Copper, Pen)

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  • Paolo Veronese - Lucretia
  • Paolo Veronese - The Marriage at Cana
  • Paolo Veronese - The Wedding at Cana
  • Paolo Veronese - St Nicholas Named Bishop of Myra
  • Paolo Veronese - Raising of the Daughter of Jairus
  • Paolo Veronese - Christ and the Woman of Samaria d
  • Paolo Veronese - Votive Portrait of Doge Sebastiano Venier (detail)
  • Paolo Veronese - Unfaithfulness
  • Paolo Veronese - Venus and Adonis
  • Paolo Veronese - Happy Union
  • Paolo Veronese - Votive Portrait of Doge Sebastiano Venier
  • Paolo Veronese - Assumption (detail)
  • Paolo Veronese - Venetia between Justitia and Pax
  • Paolo Veronese - Daniele Barbaro
  • Paolo Veronese - Martyrdom of St Justina
  • Paolo Veronese - Youth between Virtue and Vice
  • Paolo Veronese - Adoration of the Shepherds
  • Paolo Veronese - Allegory of Love, III: Respect
  • Paolo Veronese - Sts Geminianus and Severus
  • Paolo Veronese - Venus and Mars with Cupid and a Horse
  • Paolo Veronese - Saints Mark and Marcellinus being led to Martyrdom
  • Paolo Veronese - The Family of Darius before Alexander (detail)
  • Paolo Veronese - The Martyrdom and Last Communion of Saint Lucy
  • Paolo Veronese - Honour
  • Paolo Veronese - Allegory of Love, IV: Happy Union
  • Paolo Veronese - Saturn (Time) and Historia
  • Paolo Veronese - The Allegory of Love II: Scorn
 
All 373 Artworks from Paolo Veronese





Paolo Veronese (1528 – 19 April 1588) was an Italian painter of the Renaissance in Venice, famous for paintings such as The Wedding at Cana and The Feast in the House of Levi. He adopted the name Paolo Cagliari or Paolo Caliari, and became known as "Veronese" from his birthplace in Verona.

Veronese, Titian, and Tintoretto constitute the triumvirate of pre-eminent Venetian painters of the late Renaissance (16th century). Veronese is known as a supreme colorist, and for his illusionistic decorations in both fresco and oil. His most famous works are elaborate narrative cycles, executed in a dramatic and colorful Mannerist style, full of majestic architectural settings and glittering pageantry. His large paintings of biblical feasts executed for the refectories of monasteries in Venice and Verona are especially notable. His brief testimony with the Inquisition is often quoted for its insight into contemporary painting technique.

The census in Verona attests that Veronese was born sometime in 1528 to a stonecutter named Gabriele, and his wife Catherina. By the age of fourteen Veronese apprenticed with the local master Antonio Badile, and perhaps with Giovanni Francesco Caroto. An altarpiece painted by Badile in 1543 includes striking passages that were most likely the work of his fifteen-year-old apprentice; Veronese's precocious gifts soon surpassed the level of the workshop, and by 1544 he was no longer residing with Badile. Though trained in the culture of Mannerism then popular in Parma, he soon developed his own preference for a more radiant palette.

He then moved briefly to Mantua in 1548 (where he created frescoes in that city's Duomo) before arriving in Venice in 1553. His first Venetian commission was a Sacra Conversazione from San Francesco della Vigna (c.1552). In 1553, he obtained his first state commission, the fresco decoration of the Sala dei Cosiglio dei Dieci (the Hall of the Council of Ten) and the adjoining Sala dei Tre Capi del Consiglio. He then painted a History of Esther in the ceiling for the church of San Sebastiano. It was his ceiling paintings for San Sebastiano, the Doge's Palace, and the Marciana Library (the last for which Titian awarded him a prize) that established him as a master among his Venetian contemporaries. Already these works indicate Veronese's mastery for referencing both the subtle foreshortening of the figures of Correggio and the heroism of those by Michelangelo.

By 1556 Veronese was commissioned to paint the first of his monumental banquet scenes, the Feast in the House of Simon, which would not be concluded until 1570. However, owing to its scattered composition and lack of focus, it was not his most successful refectory mural. In the late 1550s, during a break in his work for San Sebastiano, Veronese decorated the Villa Barbaro in Maser, a newly-finished building by the architect Andrea Palladio. The frescoes were designed to unite humanistic culture with Christian spirituality; wall paintings included portraits of the Barbaro family, and the ceilings opened to blue skies and mythological figures. Veronese's decorations employed complex perspective and trompe l'oeil, and resulted in a luminescent and inspired visual poetry. The encounter between architect and artist was a triumph.

The Wedding at Cana, painted in 1562–1563, was also collaboration with Palladio. It was commissioned by the Benedictine monks for the San Giorgio Maggiore Monastery, on a small island across from Saint Mark's, in Venice. The contract insisted on the huge size (to cover 66 square meters), and that the quality of pigment and colors should be of premium quality. For example, the contract specified that the blues should contain the precious mineral lapis-lazuli. The contract also specified that the painting should include as many figures as possible. There are a number of portraits (including portraits of Titian, Tintoretto, and Veronese himself) staged upon a canvas surface nearly ten metres wide. The scene, taken from the New Testament Book of John, II, 1–11, represents the first miracle performed by Jesus, the making of wine from water, at a marriage in Cana, Galilee. The foreground celebration, a frieze of figures painted in the most shimmering finery, is flanked by two sets of stairs leading back to a terrace, Roman colonnades, and a brilliant sky.

In the refectory paintings, as in The Family of Darius before Alexander (1565–1570), Veronese arranged the architecture to run mostly parallel to the picture plane, accentuating the processional character of the composition. The artist's decorative genius was to recognize that dramatic perspectival effects would have been tiresome in a living room or chapel, and that the narrative of the picture could best be absorbed as a colorful diversion. These paintings offer little in the representation of emotion; rather, they illustrate the carefully composed movement of their subjects along a primarily horizontal axis. Most of all they are about the incandescence of light and color. The exaltation of such visual effects may have been a reflection of the artist's personal well-being, for in 1565 Veronese married Elena Badile, the daughter of his first master, and by whom he would eventually have four sons and a daughter.

Also painted between 1565-70 is his Madonna and Child with St. Elizabeth,the Infant St. John the Baptist, and St. Justina in the Timken Museum of Art, San Diego. St. Justina, a patroness of Padua and Venice, is at the right with the Blessed Virgin Mother and the Christ child in the center. In contrast to Italian works of a century earlier the infant is rendered convincingly as an infant. What makes one stop and take notice in this painting is the infant's reaching out to St Justina, since a baby at this age would normally only have eyes for his mother. Completing the work is St. Elizabeth, the cousin of Mary and mother of St. John the Baptist, located on the left. The artist delicately balances the forms of the extended Holy Family and renders them using a superb balance of warm and cool colors.

In 1573 Veronese completed the painting which is now known as the Feast in the House of Levi for the rear wall of the refectory of the Basilica di Santi Giovanni e Paolo. The painting was originally intended as a depiction of the Last Supper, designed to replace a canvas by Titian that had been lost in a fire. It measured more than five metres high and over twelve metres wide, depicted another Venetian celebration and was a culmination of his banquet scenes, which this time included not only the Last Supper, but also German soldiers, comic dwarves, and a variety of animals: in short, the exotica which were standard to his narratives. Even as Veronese's use of color attained greater intensity and luminosity, his attention to narrative, human sentiment, and a more subtle and meaningful physical interplay between his figures became evident.

That the subject was indeed a Last Supper, and then some, was not lost on the Inquisition. A decade earlier the monks who commissioned the Wedding at Cana had requested that the artist squeeze the maximum number of figures into the painting, but the Counter-Reformation had since exerted its influence in Venice, and in July 1573 Veronese was summoned to explain the inclusion of extraneous and indecorous details in the painting.

The tone of the hearing itself was cautionary rather than punitive; Veronese explained that "we painters take the same liberties as poets and madmen", and rather than repaint the picture, he simply and pragmatically retitled it to the less sacramental version by which it is known today.

The controversy surrounding the painting, and its resolution, were echoed in the 1960s Monty Python comedy sketch in which the Pope summoned a fictional Michelangelo to account for his version of the Last Supper featuring a kangaroo, 28 disciples and 3 Christs. In the sketch, the artist optimistically offers to solve the difficulty by retitling his work The Penultimate Supper.

In addition to the ceiling creations and wall paintings, Veronese also produced altarpieces (The Consecration of Saint Nicholas, 1561–2, London's National Gallery), paintings on mythological subjects (Venus and Mars, 1578, New York Metropolitan Museum of Art), and portraits (Portrait of a Lady, 1555, Louvre). A significant number of compositional sketches in pen, ink and wash, figure studies in chalk, and chiaroscuro modelli and ricordi are in circulation. Veronese was one of the first painters whose drawings were sought by collectors during his lifetime.

He headed a family workshop, including his brother Benedetto, sons Carlo and Gabriele that remained active after his death in Venice in 1588. Among his pupils were his contemporary Giovanni Battista Zelotti and later Giovanni Antonio Fasolo, Anselmo Canneri, and Luigi Benfatto (also called dal Friso; 1559–1611).
[Biography - Paolo Veronese - 10Ko]
Paolo Véronèse (1528-1519 Avril 1588) était un peintre italien de la Renaissance à Venise, célèbre pour les peintures comme Les Noces de Cana et de La Fête à la Maison de Lévi. Il a adopté le nom de Paolo Cagliari ou Paolo Caliari, et est devenu connu sous le nom "Véronèse" de sa ville natale à Vérone. Véronèse, Titien, Tintoret et constituent le t...
[Biography - Paolo Veronese - 13Ko]
Paolo Veronese (1528 - 19 April 1588) war ein italienischer Maler der Renaissance in Venedig, bekannt für Gemälde wie die Hochzeit zu Kana und das Fest im Haus des Levi. Er nahm den Namen Paolo Cagliari oder Paolo Caliari, und wurde bekannt als "Veronese" von seinem Geburtsort in Verona. Veronese, Tizian, Tintoretto und bilden das Triumvirat der he...
[Biography - Paolo Veronese - 11Ko]
Paolo Veronese (1528 - 19 aprile 1588) è stato un pittore italiano del Rinascimento a Venezia, famoso per opere come Le Nozze di Cana e La Cena in casa di Levi. Ha adottato il nome di Paolo Cagliari o Paolo Caliari, e divenne noto come "Veronese" dal suo luogo di nascita a Verona. Veronese, Tiziano, Tintoretto e costituiscono la triade di pittori v...
[Biography - Paolo Veronese - 11Ko]
Paolo Veronese (1528 - 19 de abril de 1588) fue un pintor italiano del Renacimiento en Venecia, famoso por obras como Las Bodas de Caná y La fiesta en la casa de Leví. Adoptó el nombre de Paolo Cagliari o Caliari Paolo, y se conocía como "Veronese", de su lugar de nacimiento en Verona. Veronese, Tiziano, Tintoretto y constituyen el triunvirato de l...
[Biography - Paolo Veronese - 11Ko]
Паоло Веронезе (1528 - 19 апреля 1588) был итальянский художник эпохи Возрождения в Венеции, известной картин, таких как Брак в Кане и праздник в доме Левия. Он принял имя Паоло Кальяри или Паоло Caliari, и стал известен как "Веронезе" с его родине в Вероне. Веронезе, Тициана, Тинторетто и составляют триумвират из выдающихся венецианских живописцев...
[Biography - Paolo Veronese - 1Ko]
保罗· 维罗纳(1528 - 1588年4月19日)是在威尼斯文艺复兴时期的意大利画家,如在迦南的婚礼和在列维楼盛宴画而闻名。他采用的名称保罗· 卡利亚里或Caliari保罗,并成为“维罗纳”从他在维罗纳的发源地。 维罗纳,提香,丁托列托,构成了文艺复兴晚期(16世纪)前著名的威尼斯画家的三驾马车。维罗纳被称为作为一个至高无上的调色,在他的幻觉装饰壁画和石油。他最著名的作品是精心制作的叙事周期,执行一个戏剧性的和丰富多彩的风格主义风格,充满了雄伟的建筑设置和闪闪发光的盛况。他在威尼斯和维罗纳的寺院食堂执行圣经节日的大画是特别显着。他简短​​的证词与侦查经常被引述其洞察到当代绘画技巧。 在维罗纳的普查,证明,韦罗内塞出生在1528年的某个时候,一个石匠,名为加布里埃尔和...
[Biography - Paolo Veronese - 4Ko]
Paolo Veronese (1528 - 19 de abril de 1588) foi um pintor italiano da Renascença em Veneza, famoso por pinturas, como As Bodas de Caná e A Festa na Casa de Levi. Ele adotou o nome de Paolo Cagliari, ou Caliari Paolo, e ficou conhecido como "Veronese" da sua terra natal, em Verona. Veronese, Ticiano, Tintoretto e constituem o triunvirato de pré-emin...
[Biography - Paolo Veronese - 11Ko]
Paolo Veronese (Verona, cerca de 1528 — Veneza, 19 de abril de 1588) foi um importante pintor maneirista da Renascença italiana. Nasceu com o nome de Paolo Cagliari, ou Caliari, tendo incorporado, como usado na Itália de seu tempo, o topônimo que o tornou conhecido - na própria Itália, "Il Veronese", por haver nascido em Verona. Sua produção e vida...
[Biography - Paolo Veronese - 4Ko]
パオロ· ヴェロネーゼ(1528 - 1588年4月19日)は、カナの婚礼とレビの家の饗宴としての絵画で有名なヴェネツィアのルネサンスのイタリアの画家。彼は名前パオロ· カリアリまたはパオロCaliariを採用し、ヴェローナでの彼の発祥の地から "ヴェロネーゼ"として知られるようになった。 ヴェロネーゼ、ティツィアーノ、ティントレットとは、後期ルネサンス(16世紀)の卓越したヴェネツィアの画家の人組を構成しています。ヴェロネーゼは最高のカラリストとして、そしてフレスコ画と油の両方の彼の幻想的な装飾で知られています。彼の最も有名な作品は、壮大な建築物の設定の完全な劇的なカラフルなマニエリスムの様式で実行される精巧な物語のサイクル、そしてきらびやかな式典です。ヴェネツィア...
[Biography - Paolo Veronese - 5Ko]
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