Paolo Veronese in the context of "Cinquecento"

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⭐ Core Definition: Paolo Veronese

Paolo Caliari (1528 – 19 April 1588), known as Paolo Veronese (/ˌvɛrəˈnz, -zi/ VERR-ə-NAY-zay, -⁠zee, US also /-si/ -⁠see; Italian: [ˈpaːolo veroˈneːze, -eːse]), was an Italian Renaissance painter based in Venice, known for extremely large history paintings of religion and mythology, such as The Wedding at Cana (1563) and The Feast in the House of Levi (1573). Included with Titian, a generation older, and Tintoretto, a decade senior, Veronese is one of the "great trio that dominated Venetian painting of the cinquecento" and the Late Renaissance in the 16th century. Known as a supreme colorist, and after an early period with Mannerism, Paolo Veronese developed a naturalist style of painting, influenced by Titian.

His most famous works are elaborate narrative cycles, executed in a dramatic and colorful style, full of majestic architectural settings and glittering pageantry. His large paintings of biblical feasts, crowded with figures, painted for the refectories of monasteries in Venice and Verona are especially famous, and he was also the leading Venetian painter of ceilings. Most of these works remain in situ, or at least in Venice, and his representation in most museums is mainly composed of smaller works such as portraits that do not always show him at his best or most typical.

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Paolo Veronese in the context of Palazzo Rosso (Genoa)

The Palazzo Brignole Sale or Palazzo Rosso is a house museum located in Via Garibaldi, in the historical center of Genoa, in Northwestern Italy. The palace is part of the UNESCO World Heritage Site Genoa: Le Strade Nuove and the system of the Palazzi dei Rolli. The rich art collection inside, along with the galleries of Palazzo Bianco and Palazzo Doria Tursi, is part of the Musei di Strada Nuova and consists of the works of artists of the caliber of Antoon van Dyck, Guido Reni, Paolo Veronese, Guercino, Gregorio De Ferrari, Albrecht Dürer, Bernardo Strozzi and Mattia Preti.

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Paolo Veronese in the context of Deification

Apotheosis (from Ancient Greek ἀποθέωσις (apothéōsis), from ἀποθεόω/ἀποθεῶ (apotheóō/apotheô) 'to deify'), also called divinization or deification (from Latin deificatio 'making divine'), is the glorification of a subject to divine levels and, commonly, the treatment of a human being, any other living thing, or an abstract idea in the likeness of a deity.

Apotheosis relates to religion and is the subject of many works of art. Figuratively, "apotheosis" may be used in almost any context for "the deification, glorification, or exaltation of a principle, practice, etc.", so normally attached to an abstraction of some sort.

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Paolo Veronese in the context of Venetian school (art)

Venetian painting was a major force in Italian Renaissance painting and beyond. Beginning with the work of Giovanni Bellini (c. 1430–1516) and his brother Gentile Bellini (c. 1429–1507) and their workshops, the major artists of the Venetian school included Giorgione (c. 1477–1510), Titian (c. 1489–1576), Tintoretto (1518–1594), Paolo Veronese (1528–1588) and Jacopo Bassano (1510–1592) and his sons. Considered to give primacy to colour over line, the tradition of the Venetian school contrasted with the Mannerism prevalent in the rest of Italy. The Venetian style exerted great influence upon the subsequent development of Western painting.

By chance, the main phases of Venetian painting fit rather neatly into the centuries. The glories of the 16th century were followed by a great fall-off in the 17th, but an unexpected revival in the 18th, when Venetian painters enjoyed great success around Europe, as Baroque painting turned to Rococo. This had ended completely by the extinction of the Republic of Venice in 1797 and since then, though much painted by others, Venice has not had a continuing style or tradition of its own.

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Paolo Veronese in the context of Finding in the Temple

The Finding in the Temple — also called (particularly in art) Christ among the Doctors, the Disputation in the Temple, or variations of those names — is an episode in the early life of Jesus as depicted in the Gospel of Luke (chapter 2). It is the only event of the later childhood of Jesus mentioned in a canonical gospel.

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Paolo Veronese in the context of Reconciliation (theology)

Reconciliation, in Christian theology, is an element of salvation that refers to the results of atonement. Reconciliation is the end of the estrangement, caused by original sin, between God and humanity. John Calvin describes reconciliation as the peace between humanity and God that results from the expiation of religious sin and the propitiation of God's wrath. Evangelical theologian Philip Ryken describes reconciliation in this way; "It is part of the message of Salvation that brings us back together with God. ... God is the author, Christ is the agent and we are the ambassadors of reconciliation (2 Corinthians 5)." Although it is only used five times in the Pauline corpus (Romans 5:10-11, 11:15, 2 Corinthians 5:18-20, Ephesians 2:14-17 and Colossians 1:19-22) it is an essential term, describing the "substance" of the gospel and salvation. Ralph Martin writing in the Dictionary of Paul and his Letters, suggests reconciliation is at the center of Pauline theology. Stanley Porter writing in the same volume suggests a conceptual link between the reconciliation Greek word group katallage (or katallasso) and the Hebrew word shalom (שָׁלוֹם), generally translated as 'peace.'

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Paolo Veronese in the context of Jehovah-jireh

In the Book of Genesis, Jehovah-jireh was the location in the region of Moriah of the binding of Isaac, where Jehovah told Abraham to offer his son Isaac as a burnt offering. Abraham named the place after God provided a ram to sacrifice in place of Isaac. This name, hence, carries the meaning, "The Lord will provide".

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