VERONESE, PAOLO

born 1528, Verona, Republic of Venice died April 9, 1588, Venice byname of Paolo Caliari one of the major painters of the 16th-century Venetian school. His works usually are huge, vastly peopled canvases depicting allegorical, biblical, or historical subjects in splendid colour and set in a framework of classical architecture. A master of the use of colour, he also excelled at illusionary compositions that extend the eye beyond the actual confines of the room. Additional reading Seventeenth-century Venetian sources include Carlo Ridolfi, Le maraviglie dell'arte (1648; ed. by Detlev von Hadeln, 191424); Marco Boschini, La carta del navegar pitoresco (1660; ed. by Anna Pallucchini, 1966); and Antonio M. Zanetti, Della pittura veneziana . . . , 2nd ed., 2 vol. (1792), initiating the critical work on Veronese, which was not sustained and that was only renewed at the beginning of the 20th century in the work of Bernhard Berenson, The North Italian Painters of the Renaissance (1907). Franz H. Meissner, Paolo Veronese (1897), was the first monograph on the artist (in German). The articles by Detlev von Hadeln, Veronese und Zelotti, in Jahrbuch der preussischen Kunstsammlungen, 35:168220 (1914) and 36:97218 (1915); and by Giuseppe Fiocco, Paolo Veronese und Farinati, ibid., New Series, 1:123136 (1926), are the early research results presented in the form of a catalog, which Fiocco built upon in his first monograph (in Italian), Paolo Veronese (1928), enlarging it by an examination of the artist's disciples and of his school. Fiocco concentrated more on the personality of Veronese in his successive volume Paolo Veronese (1934). The following article by Anna M. Brizio is also worth noting: Note per una definizione critica dello stile di Paolo Veronese, in L'Arte, 29:213242 (1926); see also the brilliant monograph by Adolfo Venturi, Paulo Veronese, per il IV centenario della nascita (1928); and Rodolfo Pallucchini, Mostra di Paolo Veronese (1939); and Veronese, 2nd ed. (1943), in which he considered the premises of Brizio and the novelty of Veronese's complementary colours and his position with regard to Mannerism. Gino Fogolari, Il processo dell'Inquisizione a Paolo Veronese, Archivio Veneto, vol. 16 (1935), illuminates an episode that was important for its demonstration of the relationship between the art of the time and the Counter-Reformation. Bernhard Berenson, Italian Pictures of the Renaissance: Venetian School, 2 vol. (1957), offers the first accurate catalog of the works of Veronese. Major Works: Bevilacqua-Lazise Altarpiece (1548; Museo di Castelvecchio, Verona, Italy); Christ Among the Doctors (c. 1550; Prado, Madrid); Portrait of Francesco Franceschini (1551; John and Mable Ringling Museum of Art, Sarasota, Fla.); Temptation of St. Anthony (1552; Muse des Beaux-Arts, Caen, Fr.); decorative paintings (155354; Palazzo Ducale, Venice); St. Mary Magdalene Laying Aside Her Jewels (c. 155354; National Gallery, London); ceiling paintings and frescoes (155558; S. Sebastiano, Venice); The Holy Family with the Infant St. John and St. George (late 1550s; Ashmolean Museum, Oxford); Transfiguration (155556; Montagnana Cathedral, Italy); decorative paintings (c. 1561; Villa Barbaro, Maser, Italy); Portrait of a Lady and Her Daughter (c. 1556; Walters Art Gallery, Baltimore); Portrait of Countess Nani (La Belle) (c. 1556; Louvre, Paris); Presentation in the Temple (mid-1550s; Gemldegalerie, Dresden, Ger.); The Anointment of David (mid-1550s; Kunsthistorisches Museum, Vienna); The Pilgrims of Emmaus (c. 1560; Louvre); Feast in the House of the Pharisee (c. 1560; Galleria Sabauda, Turin, Italy); Baptism of Christ (1561; Church of the Redentore, Venice); The Preaching of John the Baptist (c. 1561; Borghese Gallery, Rome); The Martyrdom of SS. Primo and Feliciano (1562; Museo Civico, Padua, Italy); Sacra Conversazione (S. Zaccaria altarpiece; c. 1562; Accademia, Venice); The Consecration of St. Nicholas (1562; National Gallery); The Marriage at Cana (156263; Louvre); Christ and Centurion (c. 1560s; Prado); The Martyrdom of St. George (c. 1565; S. Giorgio in Braida, Verona); St. Jerome in the Wilderness (1566; S. Pietro Martire, Murano, Italy); The Family of Darius Before Alexander (c. 1570; National Gallery); Feast in the House of Levi (1573; Accademia); Adoration of the Kings (1573; National Gallery); Marriage of St. Catherine (late 1570s; Accademia); ceiling paintings (157577; Palazzo Ducale); The Magdalen (1583; Prado); St. Pantaleon Healing a Sick Boy (1587; S. Pantalon, Venice).