Paolo Veronese: Perbedaan antara revisi

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==Life and work==

 

===Venice===

He then moved briefly to [[Mantua]] in [[1548]] (where he created [[fresco]]es 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'' (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 [[Biblioteca Marciana|Marciana Library]], (the last for which Titian awarded him a prize), that established him as a master among his Venetian contemporaries.<ref>Dunkerton, Jill, et al.: ''Durer to Veronese: Sixteenth- Century Painting in the National Gallery'', page 125. National Gallery Publications, 1999.</ref> 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]].<ref>Rearick, page 50, 1998.</ref>

 

===Villa Barbaro and refectory paintings===

 

 

In the refectory paintings, as in ''The Family of Darius before Alexander'' (1565-1570)[http://commons.wikimedia.org/wiki/Berkas:The_Family_of_Darius_before_Alexander_by_Paolo_Veronese_1570.jpg], 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.<ref>Dunkerton, et al., page 111, 1999.</ref> [[Berkas:Cana1.jpg|thumb|300px|''[[The Wedding at Cana]]'', 1562-1563. [[Louvre]].]]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.<ref>Rearick, page 13, 1988.</ref> 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.<ref>Rearick, page 13, 1988.</ref>

<blockquote>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.<ref>Gowing, Lawrence: ''Paintings in the Louvre'', page 262. Stewart, Tabori & Chang, 1987.</ref></blockquote>

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* ''The Conversion of [[Saint Pantaleimon]]'' (1587, Venice, Chiesa di San Pantaleone)

 

{{Reflist}}

 

 

* ART VIEW; Homage to a Gentleman of Verona [http://query.nytimes.com/gst/fullpage.html?res=940DE6DE113AF934A15752C1A96E948260&sec=&spon=&pagewanted=all]

* [http://www.kfki.hu/~arthp/bio/v/veronese/biograph.html Veronese biography on Web Gallery of Art] with link to images of many of his paintings

* [http://www.newadvent.org/cathen/03169b.htm Paolo Caliari] - Biographical article in the 1911 [[Catholic Encyclopedia]]

 

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