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Art Encyclopedia:

Paolo Veronese

(b Verona, 1528; d Venice, 19 April 1588). Italian painter and draughtsman. With Titian and Tintoretto he makes up the triumvirate of great painters of the late Renaissance in Venice. He is known as a supreme colourist and for his illusionistic decorations in both fresco and oil. His large paintings of biblical feasts executed for the refectories of monasteries in Venice and Verona are especially celebrated. He also produced many altarpieces, history and mythological paintings and portraits. His compositional sketches in pen, ink and wash, figure studies in chalk, and chiaroscuro modelli and ricordi form a significant body of drawings. He headed a family workshop that remained active after his death (see CALIARI; for Veronese's adoption of this name see

See the Abbreviations for further details.


 
 
Biography: Paolo Veronese

The Italian painter Paolo Veronese (1528-1588) was one of the greatest Venetian artists. His work is rich in invention and decorative splendor and excels in the depiction of festive and heroic scenes.

Paolo Veronese, whose real name was Paolo Caliari, was born in Verona (hence the appellation Veronese) and received his early training there from Antonio Badile. In 1552 Veronese was in Mantua, where he encountered the art of Giulio Romano. The following year Veronese was working at the Ducal Palace in Venice. He spent the rest of his life in that city, directing a large workshop which, after his death on April 19, 1588, was taken over by his brother Benedetto and his sons Carlo and Gabriele and continued to produce works in his manner for some time.

Characteristics of His Art

Veronese responded with singular felicity to the calm and peacefulness of Titian's works and elaborated on these qualities in wonderful fresco compositions. His color is never merely applied paint but brings to life the pale whiteness of the Palladian marble halls which are the stage for his works: the rich color of splendid and elegantly appointed animals, the muted gleam of fine fabrics, and, above all, the blueness of the wide Venetian skies which frame his compositions and bestow on them a smiling beauty and infinite depth. He applied the paint thinly over broad areas with a delicate brushstroke. His drawings, often done in wash on tinted paper, have a rich tonality of silvery grays and, though carefully executed, look almost spontaneous.

Veronese was a master of decorative painting, but the decorative aspect of his work is only a background against which he develops the often very quiet drama of his history paintings. His portraits and history paintings usually show richly dressed and beautiful persons in a gently distanced or pensive mood which tinges the wealth of the work with a certain melancholy. He also concerned himself with the study of allegory and intermittently worked on a book of drawings with explanatory notes on the subject, but only a few fragments survive.

Religious Paintings

The great majority of Veronese's history paintings represent Christian themes. His Temptation of St. Anthony (1552) shows that he was impressed with the art of Titian even before he moved to Venice, but his concern was more with demonstrating his ability to represent a complex and violent action than with the dignity of Titian's art. Once in Venice, Veronese soon attained the sublime facility that was the hallmark of his style. This is already demonstrated by his work in the Sala del Consiglio dei Dieci (1553-1554) of the Ducal Palace, even though the ceiling painting, Jupiter Fulminating the Vices (moved to Paris in 1797), is also a melodramatic tour de force.

In 1555 Veronese began the decoration of the church of S. Sebastiano in Venice and returned repeatedly to it in the course of the next 15 years. The church (in which he was buried) may be called the Pantheon of Veronese, it so well represents the maturity of his art. Most extraordinary are the ceiling paintings (1555-1556) which depict the story of Esther in daring foreshortening; yet each scene culminates in a nobly quiet pose or gesture. The effect of the whole is at once decorative and moving.

Equally impressive but more gentle are his paintings for the organ shutters (1558-1560) of S. Sebastiano, which show, when closed, the Presentation of Christ in the Temple and, when opened, Christ at the Pool of Bethesda in a setting of classical columns which connect the world of the painting with the view of the organ pipes. Two extremely rich scenes from the life of St. Sebastian (1565) decorate the choir of the church. One shows the saint in military dress exhorting his fellow Christians with a grand gesture; the other depicts him naked and meekly awaiting his execution.

Among Veronese's other great works celebrating Christian themes are Christ among the Doctors (ca. 1555-1556), St. John Preaching (ca. 1561), and the Holy Family with Saints Barbara and John (ca. 1562). More complex is the Supper at Emmaus (1559-1560). The figures from sacred history are surrounded by members of the family who commissioned the picture; they serve Christ, and their children sit at his feet.

One of the richest of Veronese's works is the Marriage at Cana, painted for a refectory (1562). In the center of this grandly decorative work sits Christ, whose loneliness has rarely been so affectingly and lovingly rendered. At his feet a group of musicians, in whom the likenesses of Veronese, Titian, Tintoretto, and Jacopo Bassano may be recognized, performs a concert.

Veronese received a number of other commissions to decorate refectories. Among these are the Feast of St. Gregory the Great (1572), the Feast in the House of Simon (ca. 1572), and the Feast in the House of Levi (1573). The last painting is actually a Last Supper, but the Inquisition took exception to it because they thought that Veronese had elaborated frivolously on the biblical account. He defended himself ably, but in the end he was obliged to change the title of the work to the rather meaningless and misleading Feast in the House of Levi.

In addition to his richly splendid works Veronese also painted pictures which in their composition and coloring are as quietly understated as the actions and gestures of his heroes almost always are. Most notable among these are the Crucifixion (ca. 1570-1580), in which all is silence and grief, and the very late Pietà (ca. 1586), which presents the dead body of Christ with a gentleness that is heartbreaking.

Secular Paintings

Veronese's secular and allegorical history painting falls into two groups: his public commissions for the Ducal Palace and the Library of St. Mark's and his decoration of villas and palaces belonging to the Venetian nobility. His greatest accomplishment of the first type is the Triumph of Venice (1583) in the Sala del Maggior Consiglio of the Ducal Palace, which shows in its center Venice a female allegorical figure, resplendent in opulent beauty and ease, crowned by Victory and raised by clouds, slowly ascending to the heavens. In the second group are the Rape of Europa (ca. 1580), which follows the account of Ovid in his at once playful and yet awed praise of the power of Cupid, and Darius and the Family of Alexander (ca. 1565-1567).

Veronese's happiest achievement of his private commissions is the fresco decoration of Andrea Palladio's Villa Barbaro at Maser (ca. 1561). The harmony there effected between the taste of an enlightened patron and the art of Palladio and Veronese makes the villa one of the most delightful places on earth. Landscapes, noble buildings, beautifully shining skies, and playfully painted gods, heroes, allegorical figures, and animals on the walls and ceilings all mingle and smile in a world of art, full of mirth, sense, and dignity, and offer refreshment from the cares of the world.

Further Reading

Veronese has not been well served by the art-historical literature in English. An introduction to his art is available in Antoine Orliac, Veronese (trans. 1940). On his drawings see Hans Tietze and Erika Tietze-Conrat, The Drawings of the Venetian Painters (1944). Excellent appreciations of his art can be found in John Ruskin, Modern Painters (1843-1860) and The Stones of Venice (1851-1853), and in Henry James, Italian Hours (1909).

 
Britannica Concise Encyclopedia: Paolo Veronese

(born 1528, Verona, Republic of Venice — died April 9, 1588, Venice) Italian painter. Son of a stonecutter from Verona, he was apprenticed at 13 to a painter. After 1553, when he received the first of many commissions in Venice, he became a major painter of the 16th-century Venetian school, a group of Renaissance artists known for their splendid use of colour and pageantlike compositions. His first works in Venice, ceiling paintings for the Doges' Palace, employ skillful foreshortenings that make figures appear to be floating in space. He decorated the villas and palaces of the Venetian nobility and received many commissions for frescoes, altarpieces, and devotional paintings, including numerous "suppers" (e.g., The Pilgrims of Emmaus and Feast in the House of the Pharisees) that allowed him to compose large groups of figures in complex Renaissance architectural settings. In decorating a villa built by Andrea Palladio at Maser (c. 1561), he brilliantly interpreted its architectural structure, breaking through the walls with illusionistic landscapes and opening the ceilings to blue skies with figures from Classical mythology. Whimsical details in his Last Supper (commissioned 1573) caused him to be summoned before the Inquisition. Painters from the 16th century on were inspired by his use of colour to express exuberance as well as to model form.

For more information on Paolo Veronese, visit Britannica.com.

 
Columbia Encyclopedia: Veronese, Paolo
(pä'ōlō vārōnā'zā) , 1528–88, Italian painter of the Venetian school. Named Paolo Caliari, he was called Il Veronese from his birthplace, Verona. Trained under a variety of minor local artists, he was more influenced by the works of Giulio Romano, Parmigianino, and particularly Titian. His early specialty was decorative fresco, most of which are now lost. In 1555 he was in Venice, where he began to develop his characteristic opulent use of color. His talent was quickly recognized. Commissioned to work on the ceilings in the ducal palace, he painted Age and Youth and Hera Presenting Gifts to Venice. His pictures are crammed with figures arranged in a sinuous spatial pattern. Complex mannerist devices are evident in the Giustiniani altarpiece (San Francesco della Vigna, Venice) and in the many works he executed for the Church of San Sebastian. About 1566 he decorated the villa at Maser (near Vicenza). Depicting landscapes, mythological scenes, and portraits, he achieved ingenious examples of illusionism.

Veronese is known chiefly for his religious feast scenes, which he interpreted in a notably secular manner, as in the Supper at Emmaus (Louvre), Marriage at Cana (1562; Louvre), and Feast in the House of the Pharisee (c.1570; Milan). In these scenes he emphasized splendor of color and lavish accessories, banquet delicacies, highly fashionable courtiers, soldiers, musicians, horses, dogs, apes, and magnificent buildings. In 1573 the artist was called before the Inquisition because certain details in his depiction of the Last Supper were considered irreverent. He defended himself valiantly and ultimately changed the title of the work to Feast in the House of Levi (now in the Academy, Venice). In 1576 he painted one of his most famous works, The Rape of Europa, now in the ducal palace. After the fire of 1577 he was employed in the reconstruction of the ducal palace, where he executed the splendid Triumph of Venice and Venice Ruling with Justice and Peace.

Veronese ranks among the greatest of Venetian decorative painters for his harmonious tonalities and rich textures. Many of his works are in American museums, including Venus and Mars United by Love (Metropolitan Mus.), The Choice between Virtue and Vice and The Choice between Wisdom and Strength (Frick Coll., New York City), Lady with her Daughter (Walters Art Gall., Baltimore), Creation of Eve (Art Inst., Chicago), a family portrait (California Palace of the Legion of Honor, San Francisco), two allegorical paintings (Los Angeles County Mus. of Art), and a family portrait and Rest on the Flight to Egypt (Ringling Mus. of Art, Sarasota, Fla).

Bibliography

See biography by A. Orliac (1940); studies by W. R. Rearick (1987), A. Priver (2001), P. De Vecchi et al. (2004) and R. Cocke (2002 and 2005).

 
History 1450-1789: Veronese

Veronese (Paolocaliari) (1528–1588), Italian painter. Paolo Veronese (alongside Titian) was the most influential painter of the Venetian Renaissance. Trained in the 1540s in his native Verona by Antonio Badile and Giovanni Caroto, Veronese moved to Venice about 1551. He brought with him an intimate understanding of both Andrea Mantegna's spatial and structural precision in painting and Giulio Romano's more contemporary decorative mode (which drew heavily on the art of High Renaissance Rome, especially that of Raphael). These influences are already at play in early works such as The Temptation of Saint Anthony (1552–1553, Musée des Beaux Arts, Caen). But Veronese also proved immediately responsive to local artistic tradition in Venice. His first major commission in the city (the Giustiniani altarpiece of c. 1551, S. Francesco della Vigna, Venice) was modeled directly on Titian's Pesaro altarpiece, and many of his subsequent paintings of this type continue to refer to this seminal work. A few years later Titian recognized Veronese's deferential attitude by awarding him a golden chain for his contribution to a ceiling in the newly built Marciana Library (Music, 1556–1557).

Veronese quickly won favor with leading families among the Venetian nobility, and it was probably this connection with the upper classes that led him to change his name from Spezapreda (stonecutter) to Caliari (the name of a leading aristocratic family in Verona). His sensitivity to the values of Venetian patricians is evident in such portraits as Giuseppe da Porto with His Son Adriano (c. 1556, Contini-Bonacossi collection, Florence), which is characterized by a restrained magnificence. About 1560 the patrician brothers Daniele and Marcantonio Barbaro invited Veronese to fresco their new country villa at Maser, recently built by Andrea Palladio. Linking his images to one another—and also to the real space of the villa—by means of fictive architecture, Veronese provided a modern reconstruction of the kind of pictorial decoration found in ancient Roman country villas. To the somewhat obtuse allegorical program of his patrons, Veronese applied his usual light touch. His imagery manages to allude to all the main cultural, social, and economic functions of the house: as place of rural retreat, intellectual contemplation, family life, and agrarian productivity. But this content is constantly enlivened by playful trompe-l'oeil effects, intimate human and animal portraits, and humorous visual asides. The overt reference to classical models of domestic decoration is constantly underpinned (although never undermined) by the painter's special understanding of Venetian naturalism.

Between 1555 and 1565 Veronese worked on a series of paintings for the Hieronymite church of S. Sebastiano in Venice. Taken together, this ensemble (ceiling paintings, wall paintings on canvas and in fresco, painted organ-shutters, and an altarpiece) represents Veronese's masterwork in the field of sacred imagery. The nave paintings, showing scenes from the Book of Esther, offer a tour de force in illusionism and perspective foreshortening, but the tone remains festive and triumphal, and despite their religious content the compositions could serve well as models for subsequent works in a secular context. Veronese himself drew on these paintings in his later work for the Ducal Palace (for example, Faith, 1575–1578), while Peter Paul Rubens, Giovanni Battista Tiepolo, and many other painters over the next two centuries used the S. Sebastiano ceiling as a model.

Veronese's confident elision of secular and sacred modes in his paintings is most evident in privately commissioned works such as The Supper at Emmaus (c. 1559–1560, Musée du Louvre, Paris) in which patronal portraits crowd around the sacred figures under a Palladian loggia. In The Marriage at Cana (1562–1563, Louvre) for San Giorgio Maggiore, Veronese produced a scene of lavish contemporary feastmaking in an idealized Palladian setting. Among the group of finely dressed musicians are portraits of leading Venetian painters: Veronese shows himself (playing a viol) as prominent, alongside the elderly Titian just to the right (playing a viola da gamba).

But such playful visual asides soon threatened to get the painter into trouble with the religious authorities. His inclusion of buffoons, dwarves, and German soldiers in the foreground of his Last Supper of 1573 (Gallerie dell'Accademia, Venice) landed him in front of the Catholic Inquisition who questioned the decorum of such additions. In response, the painter merely added an inscription identifying the subject as a less important one (the Feast in the House of Levi) and did not remove any of the offending figures.

Veronese's visual flamboyance did not markedly diminish in the 1570s, and it was only in the last decade of his life that he moved toward a more emotionally expressive approach (for example, The Last Communion of Saint Lucy, c. 1585–1586, National Gallery of Art, Washington, D.C.). But it was the integrated compositions of his earlier manner that were destined to be so influential on European artistic tradition over the following centuries. His sumptuous approach to picture making, underpinned by a clear grasp of perspective construction, offered a vital bridge between the scientific and naturalistic art of the early Renaissance and the decorative manner of the baroque and rococo periods. From the outset of his career, his pictorial lucidity reflected his special capacity for the absorption and integration of differing stylistic tendencies, and this gift for stylistic synthesis never deserted him.

Bibliography

The Art of Paolo Veronese, 1528–1588. Exh. cat. Edited by W. R. Rearick. Washington, D.C., 1988.

Nuovi studi su Paolo Veronese. Edited by M. Gemin. Venice, 1990.

Pedrocco, Filippo, and Terisio Pignatti. Veronese catalogo completo. Florence, 1991.

Pignatti, Teresio. Veronese. 2 vols. Venice, 1976.

—TOM NICHOLS

 
Wikipedia: Paolo Veronese

Paolo Veronese (1528 – April 19 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,[1] 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 (1500s). Veronese is known as a supreme colourist, 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 Feast in the House of Levi (1573), one of the largest canvases of the 16th century. It led to an investigation by the Roman Catholic Inquisition.
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The Feast in the House of Levi (1573), one of the largest canvases of the 16th century. It led to an investigation by the Roman Catholic Inquisition.

Life and work

Youth

The census in Verona attests that Veronese was born some time 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.[2] Though trained in the culture of Mannerism then popular in Parma, he soon developed his own preference for a more radiant palette.[3]

Allegory of Wisdom and Strength, ca. 1580.
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Allegory of Wisdom and Strength, ca. 1580.

Venice

He then moved briefly to Mantua in 1548 (where he created frescoes in that city's Duomo) before ultimately settling in Venice. 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 and 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 Ducal Palace, and the Marciana Library, (the last for which Titian awarded him a prize), that established him as a master among his Venetian contemporaries.[4] 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.[5]

Villa Barbaro and refectory paintings

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.[6] 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.[7] The encounter between architect and artist was a triumph.[8]

The Wedding at Cana, painted in 1562-1563, was commissioned for Palladio's refectory in San Giorgio Maggiore. As in the other banquet pictures, the scene reflects the festivities then current to Venetian life. The painting is immense: more than a hundred figures, including recognizable portraits of Titian, Tintoretto, and Veronese himself, are staged upon a canvas surface nearly ten metres wide. 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.[9]

In the refectory paintings, as in The Family of Darius before Alexander (1565-1570)[1], 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.[10]

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.[11] 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.[12]

The House of Levi

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 San Zanipolo. 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.[13] 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.[14]

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 of 1573 Veronese was summoned to explain the inclusion of extraneous and indecorous details in the painting.[15] 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.[16]

Other works

The Battle of Lepanto (c. 1572, oil on canvas, 169 x 137 cm, Gallerie dell'Accademia, Venice)
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The Battle of Lepanto (c. 1572, oil on canvas, 169 x 137 cm, Gallerie dell'Accademia, Venice)

In addition to the ceiling creations and wall paintings, Veronese also produced altarpieces (The Consecration of Saint Nicholas, 1561-2, London's National Gallery[2]), paintings on mythological subjects (Venus and Mars, 1578, New York Metropolitan Museum of Art [3]), 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.[17]

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 and Luigi Benfatto (also called dal Friso; 1559-1611)[18].

A picture of his painting Lucretia is available here.

Assessment

In 1648 Carlo Ridolfi wrote of the Feast in the House of Levi that it gave rein to joy, made beauty majestic, made laughter itself more festive.[19]

A modern assessment of Veronese's achievement is worth quoting at length:

The French had no doubts, as the critic Théophile Gautier wrote in 1860, that Veronese was the greatest colorist who ever lived--greater than Titian, Rubens, or Rembrandt because he established the harmony of natural tones in place of the modeling in dark and light that remained the method of academic chiaroscuro. Delacroix wrote that Veronese made light without violent contrasts, "which we are always told is impossible, and maintained the strength of hue in shadow.

This innovation could not be better described. Veronese's bright outdoor harmonies enlightened and inspired the whole nineteenth century. He was the foundation of modern painting. But whether his style is in fact naturalistic, as the Impressionists thought, or a more subtle and beautiful imaginative invention must remain a question for each age to answer for itself.[20]

Anthology of works

  • St. Anthony Tempted by the Devil (1552-1553) - Oil on canvas, 198 x 151 cm, Musée des Beaux-Arts, Caen
  • Zeus ousting the Vices (c. 1553) - Oil on canvas, 650 x 330 cm, Musée du Louvre, Paris
  • St. Mark Crowning the Virtue (c. 1554) - Oil on canvas, 330 x 317 cm, Musée du Louvre, Paris
  • Coronation of the Virgin (1555) - Oil on canvas, San Sebastiano, Venice
  • Portrait of a Woman (c. 1555-1560) - Oil on canvas, 119 x 103 cm, Musée du Louvre, Paris
  • Annunciation (c. 1555) - Oil on canvas, 193 x 291 cm, Uffizi, Florence
  • Jesus among the Doctors in the Temple (1558) - Oil on canvas, 236 x 430 cm, Museo del Prado, Madrid
  • Assumption of the Virgin (c. 1558) - Oil on canvas, 340 x 455 cm, San Giovanni e Paolo, Venice
  • The Marriage at Cana (c. 1560) - Oil on canvas, 207 x 457 cm, Gemäldegalerie, Dresden
  • Portrait of a Man (c. 1560) - Oil on canvas, 120 x 102 cm, Museum of Fine Arts, Budapest
  • Bacchus Giving Wine to Men (1560-1561) - Fresco, Villa Barbaro, Maser
  • Giustiniana Giustiniani with Her Nurse (1560-1561) - Fresco, Villa Barbaro, Maser
  • Venus and Adonis (after 1561) - Oil on canvas, 123 x 174 cm, Staatliche Kunstsammlungen, Augsburg
  • Virgin in Glory with Saints (c. 1562) - Oil on canvas, San Sebastiano, Venice
  • St. John the Baptist Preaching (c. 1562) - Oil on canvas, Galleria Borghese, Rome
  • Madonna Enthroned with Saints (c. 1562) - Oil on canvas, 339 x 191 cm, Gallerie dell'Accademia, Venice
  • The Marriage at Cana (1563) - Oil on canvas, 666 x 990 cm, Musée du Louvre, Paris
  • Holy Family and Saints (San Zaccaria Altapiece; 1564) - Oil on canvas, 328 x 188 cm, Gallerie dell'Accademia, Venice
  • Sts. Mark and Marcellino Being Led to Martyrdom (1565) - Oil on canvas, San Sebastiano, Venice
  • Martyrdom of St. Sebastian (1565) - Oil on canvas, San Sebastiano, Venice
  • The Family of Darius before Alexander (1565-1570) - Oil on canvas, 236.2 x 475.9 cm, National Gallery, London
  • Portrait of Daniele Barbaro (1565-1567) - Oil on canvas, 121 x 105.5 cm, Rijksmuseum, Amsterdam
  • The Allegory of Love: Unfaithfulness (1570) - Oil on canvas, 191 x 191 cm, National Gallery, London
  • The Resurrection of Christ (c. 1570) - Oil on canvas, 136 x 104 cm, Gemäldegalerie, Dresden
  • The Finding of Moses (c. 1570-1575) - Oil on canvas, Kunsthistorisches Museum, Vienna
  • Portrait of a Sculptor (c. 1750-1585) - Oil on canvas, 110.5 x 89 cm, Metropolitan Museum of Art, New York
  • Battle of Lepanto (c. 1572) - Oil on canvas, 169 x 137 cm,Gallerie dell'Accademia, Venice
  • Feast in the House of Levi (1573) - Oil on canvas, 555 x 1,280 cm, Gallerie dell'Accademia, Venice
  • The Martyrdom of St. Justine (c. 1573) - Oil on canvas, 103 x 113 cm, Uffizi, Florence
  • Ceres Renders Homage to Venice (1575) - Oil on canvas, 309 x 328 cm, Gallerie dell'Accademia, Venice
  • Mystical Marriage of St Catherine (c. 1575) - Oil on canvas, 337 x 241 cm, Gallerie dell'Accademia, Venice
  • The Allegory of Love: Unfaithfulness (c. 1575) - Oil on canvas, 187 x 188 cm, National Gallery, London
  • Venus, Mars and Love with a Horse (c. 1575) - Oil on canvas, 47 x 47 cm, Galleria Sabauda, Turin
  • Pietà (1576-1582) - Oil on canvas, 147 x 115 cm, The Hermitage, St. Petersburg
  • Mars and Venus United by Love (c. 1578) - Oil on canvas, 205.7 x 161 cm, Metropolitan Museum of Art, New York
  • Hermes, Herse and Aglaulus (1576-1584) - Oil on canvas, 232.4 x 173 cm, Fitzwillian Museum, Cambridge
  • The Rape of Europa (1580) - Oil on canvas, 240 x 303 cm, Sala dell'Anticollegio, Doge's Palace, Venice
  • Christ and the Centurion (c. 1580) - Oil on canvas, 99.2 x 130.8 cm, Toledo Museum of Art, Toledo Museum of Art, Toledo, OH
  • Lucretia (1580s) - Oil on canvas, 109 x 90.5 cm, Kunsthistorisches Museum, Vienna
  • Christ in the Garden Supported by an Angel (c. 1580) - Oil on canvas, 80 x 108 cm, Pinacoteca di Brera, Milan
  • St. Anthony Preaching to the Fish (c. 1580) - Oil on canvas, Galleria Borghese, Rome
  • The Vision of St. Helena (c. 1580) - Oil on canvas, 166 x 134 cm, Pinacoteca Vaticana
  • Allegory of Wisdom and Strength (c. 1580) - Oil on canvas, 214.6 x 167 cm, Frick Collection, New York
  • Judith and Holofernes (c. 1580) - Oil on canvas, 195 x 176 cm, Galleria di Palazzo Rosso, Genoa
  • The People of Myra Welcoming St. Nicholas (c. 1582) - Oil on canvas, diameter: 198 cm, Gallerie dell'Accademia, Venice
  • Apotheosis of Venice (1585) - Oil on canvas, 904 x 579 cm, Doge's Palace, Venice
  • Portrait of Agostino Barbarigo - Oil on canvas, 60 x 48 cm, Museum of Fine Arts, Budapest
  • Baptism and Temptation of Christ - Oil on canvas, 245 x 450 cm, Pinacoteca di Brera, Milan
  • Portrait of a Venetian Woman (La Bella Nani)- Oil on canvas, 117.3 x 100.8 cm, Alte Pinakothek, Munich
  • Susanna in the Bath - Oil on canvas, 198 x 198 cm, Musée du Louvre, Paris

Notes

  1. ^ Rearick, W. R.: The Art of Paolo Veronese 1528-1588, page 20. National Gallery of Art, 1988. His earliest known painting is signed "P. Caliari F.," the first known instance in which he used this surname, which he seems to have adopted, since his parents appear not to have had one.
  2. ^ Rearick, page 20, 1988.
  3. ^ Bussagli, Marco: "The XVI Century", Italian Art, page 206. Giunti Gruppo Editoriale, 2000.
  4. ^ Dunkerton, Jill, et al.: Durer to Veronese: Sixteenth- Century Painting in the National Gallery, page 125. National Gallery Publications, 1999.
  5. ^ Rearick, page 50, 1998.
  6. ^ Rearick, page 75, 1988.
  7. ^ Rearick, page 10, 1998.
  8. ^ Bussagli, page 207, 2000.
  9. ^ Rearick, page 10, 1998.
  10. ^ Dunkerton, et al., page 111, 1999.
  11. ^ Rearick, page 13, 1988.
  12. ^ Rearick, page 13, 1988.
  13. ^ Dunkerton, et al., page 30, 1999.
  14. ^ Rearick, page 14, 1988.
  15. ^ Rearick, page 104, 1988.
  16. ^ Rearick, page 104, 1988. Transcript of the hearing
  17. ^ Eisler, Colin: Masterworks in Berlin: A City's Paintings Reunited, page 270. Little, Brown and Company, 1996.
  18. ^ *Bernasconi, Cesare (1864). Painting Studi sopra la storia della pittura italiana dei secoli xiv e xv e della scuola pittorica veronese dai medi tempi fino tutto il secolo xviii, Googlebooks, pp 337-338, 343. 
  19. ^ Rearick, page 14, 1988.
  20. ^ Gowing, Lawrence: Paintings in the Louvre, page 262. Stewart, Tabori & Chang, 1987.

Reference

  • Freedberg, Sydney J. (1993). in Pelican History of Art: Painting in Italy, 1500-1600. Penguin Books Ltd, p550-60. 

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