Veronese

Caliari, Paolo
Veronese, Paolo

Venetian, 1528 - 1588

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Veronese, Apollo and Marsyas, c. 1600, pen and brown ink with brown wash over black chalk, heightened with white gouache, on blue laid paper, Ailsa Mellon Bruce Fund, 1973.48.2

Apollo and Marsyas

Veronese · c. 1600 · pen and brown ink with brown wash over black chalk, heightened with white gouache, on blue laid paper ·  Accession ID  1973.48.2

A man stabs a woman, Saint Lucy, in the chest while another man, a priest, holds a gold cup and offers her a small white wafer in this horizontal painting. Two man flank the priest, and the group is in front of a town square. Saint Lucy has pale skin and the men have tanned skin. In the center, Saint Lucy faces us and kneels with her body angled to our right. She turns her head away from us and toward the communion wafer with hermouth slightly open. Her copper-red hair is pulled back under a golden-brown cloth, which falls over her shoulders. The bodice of her thistle-purple gown has been pulled down, and blood trickles from the dagger held there. Her long sleeves are lined at the cuffs with white ruffles, and her skirt puddles on the ground. The gown has a sheen, suggesting satin or silk. She holds one hand down by her side, palm facing us, and holds up the gold cloth by her chest with the other. The man with the dagger is to our left. He hunches over Saint Lucy, stepping onto his front foot from behind her shoulder. He has dark hair, and his face is in shadow. His white shirt and butterscotch-yellow clothing expose the muscular shoulder of the stabbing arm. His pants end at the shin, and his feet are bare. To our right, the priest is balding with a white beard. His face is lined as he looks down at Saint Lucy, his head tipped toward us. He wears a white robe with a gold stole. A man wearing celestial blue and holding a thick candle kneels facing away from us between us and the priest. Another man wearing red and plum purple looks at Saint Lucy from under dark, lowered brows on the far side of the priest. Across from this group, a sixth person edges into the scene from our left, so only their profile, a shoulder, and a hand are visible. Deep in shadows, they seem to look into the town square. That space is lined with tall stone buildings to our right and an arch on the far side. A few people and oxen gather around a woman wearing pink, who stands on a platform in the square. Two more people sit atop a platform above the woman, flanking an upward shooting pink stream, like a wide ribbon. Thin white and gray clouds veil the shadowy, marine-blue sky in the upper left quadrant.
Veronese, The Martyrdom and Last Communion of Saint Lucy, c. 1585/1586, oil on canvas, Gift of The Morris and Gwendolyn Cafritz Foundation and Ailsa Mellon Bruce Fund, 1984.28.1

The Martyrdom and Last Communion of Saint Lucy

Veronese · c. 1585/1586 · oil on canvas ·  Accession ID  1984.28.1

A woman with a delicate, translucent halo stands on a stone ledge above an older man who is shown in a smaller scale in the lower right of this vertical, arched painting. Both have pale skin. The woman faces us with her right hand, on our left, pressed to her chest. Her head is turned to look up and to the left with wide, gray eyes under thin brows. Her left knee, on our right, is slightly bent, making her torso lean in that direction. She has a round face with a long nose and a small coral-red mouth, which is open. Her brown hair is covered by a sable-brown veil, and she wears a sleeveless olive-green tunic over a long-sleeved dusty rose-pink gown. The tunic is adorned with a gold, winged baby head at the neckline. A copper-red cloak covered with a delicate cherry-red pattern is fastened to the shoulders of her tunic with gold ornaments embedded with dark red gems. The cloak wraps around her right side, on our left, and her right hand holds a fold of the cloak to her chest. The left side of the cloak wraps around that hip and is attached with a round, gold object with a tassel hanging from the bottom. She carries a dark green palm frond in her left hand, along with a short staff topped with a human eye. She stands in a gap between terracotta-colored balustrades with brown hills and a cloud-filled, teal-blue sky beyond her. The man in the lower right stands facing our left, almost in profile as if in front of the ledge on which the woman stands. He has a ruddy, deeply lined face, short gray hair and a trimmed beard, and wears a voluminous black coat with a white collar. The fingertips of his raised hands touch and a gold ring with a burnt-orange gem is on the first finger of his near hand.
Veronese, Gabriele Caliari, Saint Lucy and a Donor, c. 1585/1595, oil on canvas, Samuel H. Kress Collection, 1961.9.48

Saint Lucy and a Donor

Veronese, Gabriele Caliari · c. 1585/1595 · oil on canvas ·  Accession ID  1961.9.48

Veronese, Studies for Judith and Holofernes, David and Goliath, The Finding of Moses, and Others [recto], c. 1582, a) pen and brown ink with brown wash on laid paper b) pen and brown ink and wash on laid paper, The Armand Hammer Collection, 1987.24.4.a

Studies for Judith and Holofernes, David and Goliath, The Finding of Moses, and Others [recto]

Veronese · c. 1582 · a) pen and brown ink with brown wash on laid paper b) pen and brown ink and wash on laid paper ·  Accession ID  1987.24.4.a

Veronese, Studies for the Raising of Lazarus and Other Compositions [verso], c. 1582, pen and brown ink and wash on laid paper, The Armand Hammer Collection, 1987.24.4.b

Studies for the Raising of Lazarus and Other Compositions [verso]

Veronese · c. 1582 · pen and brown ink and wash on laid paper ·  Accession ID  1987.24.4.b

Six elegantly dressed, light-skinned women, a man with dark brown skin, and a person of short stature gather around a nude baby boy in front of a landscape with a town in the distance in this vertical painting. Attention is focused on the baby, held by a woman kneeling to our lower left, and on a woman wearing a silver and gold-colored brocade dress standing near the center of the painting. The central woman's dress is trimmed with gold and jewels. She wears a pearl necklace, and her blond hair is wrapped with pearls around a gold, jeweled tiara. She leans to our right, toward another woman with blond, pearl-adorned hair wearing a blue and white stripped dress with puffed sleeves. In front of that pair, and along the right edge of the painting, another woman with pearls in her hair bends over a person of short stature and gestures toward the baby. The person of short stature has brown hair over a high forehead and a tan complexion. He holds an instrument like a recorder and wears a navy-blue and crimson-red jester’s costume. Seen from the waist up in the lower left corner of the painting, the man with brown skin has close-cropped black hair and wears a marigold-orange garment. Looking onto the scene from the sunken riverbed, he gazes to our right in profile and holds a basket. Above him, the woman holding the baby looks at the woman wearing silver and gold. An older woman holds up a cloth, presumably to wrap the baby. Another person looks on over that woman’s shoulder, and two more women stand farther back to our left, apart from this group. Behind the main scene, a few spindly trees with feathery pine-green or harvest-yellow leaves extend off the top edge of the canvas. An arched bridge spans the river in the distance to the left and beyond a town is painted in blue and gray against rocky hills. Blue sky above is strewn with white clouds.
Veronese, The Finding of Moses, c. 1581/1582, oil on canvas, Andrew W. Mellon Collection, 1937.1.38

The Finding of Moses

Veronese · c. 1581/1582 · oil on canvas ·  Accession ID  1937.1.38

A winged angel strides toward a young woman who kneels at the foot of a bed, while an older, bearded man, surrounded by several winged babies and a dove, hover overhead in this vertical painting. All the people have pale skin. To our left, the blond angel steps forward on his right, sandaled foot. He holds a long stem with a white lily in his left hand, farther from us, and raises his other hand to the sky. His charcoal-gray wings are partly extended, and he wears long, flowing, goldenrod-yellow and sage-green garments with a green and blue striped sash wrapped around his chest. His lips are parted, and he looks toward the woman to our right. The woman, Mary, kneels at a wooden lectern that holds an open book near the foot of the bed. Pillows and a moss-green bed curtain are visible behind her. A cobalt-blue mantle drapes across her shoulders and wraps around her rust-red gown and caramel-brown shawl. Mary’s brown hair is partially covered by a golden brown cloth, and her dark eyes are lowered, looking down to our left. Her body is angled to our right, hands crossed over her chest, but her shoulders and head have begun to turn to look back at the angel. Almost lost in shadow, a translucent glass vase with a single stem of rose-red buds sits on the ground next to her. The floor is covered with geometric patterns in tones of brown, gray, and black. A balustrade under arched openings encloses the room beyond the bed. At the foot of one column, a striped cat laps from a saucer. Floating above the pair the bearded man looks down toward Mary, his hands and arms extended in front of him. He also wears a cobalt-blue robe over rose-pink sleeves. Two winged, nude babies cling to his outstretched arms, and also look down at Mary. A trio of three blond baby heads float around the white dove, which flies in a starburst of light. Midnight-blue wings frame each baby’s head. The entire group is surrounded by puffy, golden clouds. The landscape beyond the balustrade has lush green trees under a sapphire-blue sky sprinkled with clouds.
Veronese, Italian 16th Century, The Annunciation, c. 1583/1584, oil on canvas, Samuel H. Kress Collection, 1959.9.6

The Annunciation

Veronese, Italian 16th Century · c. 1583/1584 · oil on canvas ·  Accession ID  1959.9.6

Three men, one woman, and three camels gather around the stone ledge of a well in this horizontal landscape painting. Along the left edge of the composition and on the far side of the well, a man with brown skin and short, black hair faces away from us as he reaches for the reins of two camels, one of which looks at or toward us. This man wears an emerald-green shirt under a canary-yellow tunic, which is tied in place with a strap over one shoulder. With her back to that man, a woman with pale, white skin stands angled toward the two light-skinned men who stand to our right, in the center of the painting. Light falls across this trio, and the woman’s face is especially bright against the muted blues of the sky behind her. Her blond hair is braided and coiled at the back of her head. Her white shirt has puffy, short sleeves, and is covered with sheer, gold fabric, like a vest. Salmon-pink fabric wraps across her shoulders and under her bust, and the light glints off the folds of her full, pink skirt. She touches her left wrist, to our right, with her other hand, and wears bracelets on both arms. A copper-colored pot sits on the ledge next to her, to our left. She looks toward a man who kneels as he holds up a handful of gold coins or jewelry. His body is angled away from us, and we see him in profile facing our left, the bottom of his face hidden by his raised arm. He wears a tunic striped with fawn brown and white, and short, teal-green pants come to mid-thigh. His knees are bare, and he wears peach-colored, shin-high boots. A buttercup-yellow robe is tied over one shoulder and around his waist, and he wears a close-fitting green cap, the same color as his pants. Just beyond him, a balding man with a trimmed, gray beard leans toward and looks at the woman. He wears an apricot-orange tunic under an ocean-blue cape. He gestures with one hand to the gold and props his other hand on a tall walking stick. A camel behind him faces our right in profile with coral-pink fabric draped over its hump. The camel’s head is near a tree with a bush growing at its base. A chest with a rounded top sits near the tree. Another camel peeks its face into the scene from the upper right corner, and a fifth drinks from another copper-colored vessel in the lower right. Gray rocks are scattered on the earth along the bottom edge of the painting, and a stick leans against the side of the well close to us. Beyond the tree and the camels to our right, a town with oyster-white buildings lines the horizon in the distance. The sky above is streaked with navy blue, steel gray, tan, and mauve pink. The weave of the canvas is visible in some areas, especially the sky.
Veronese, Italian 16th Century, Rebecca at the Well, c. 1582/1588, oil on canvas, Samuel H. Kress Collection, 1952.5.82

Rebecca at the Well

Veronese, Italian 16th Century · c. 1582/1588 · oil on canvas ·  Accession ID  1952.5.82

A sinewy older man, his pale skin mostly exposed, sits on a stone low to the ground facing a table on our right in the center of this vertical painting. His gray hair is cropped short, and he has a graying, long beard. He faces our right in profile, and has a hooked nose, deep-set eyes, and the eyebrow we can see is bushy. The man's bare chest has a red wound flecked with darker red gashes. A smooth and shiny, rose-pink cloth drapes across his thighs and falls around his bare knees, its soft folds highlighted in white. A translucent white undergarment peeks out from beneath it. In the man’s left hand, farther from us, he holds the bottom of a wooden cross against the pages of an open book, which is propped up on a skull on a wooden table. The crucifix is as tall as the book. An hourglass sits on the corner of the table just beyond that hand. He clutches a palm-sized stone in his right arm, which is slightly bent and held down by his side. His legs are bent and cramped under his body as he sits on the low stone. A small lion lies in the shadows under the table. To our left and directly behind the man looms a brown, rocky arch with two wooden slats, like a fence, across its opening. Another rocky formation fills the space through the archway, leaving a sliver of blue sky while juniper-green bushes grow around its edges. To our right, a rolling wilderness stretches away to the horizon, with soft foliage of kelly green giving way to steep hills in soft blues. Hazy white squares suggest a cluster of buildings on the distant hillside. Pale gray and white clouds float across a sky that deepens from pale pink along the horizon to vivid blue along the top edge.
Veronese, Benedetto Caliari, Saint Jerome in the Wilderness, c. 1575/1585, oil on canvas, Samuel H. Kress Collection, 1961.9.47

Saint Jerome in the Wilderness

Veronese, Benedetto Caliari · c. 1575/1585 · oil on canvas ·  Accession ID  1961.9.47

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[Choix des meilleures statues antiques]

Angelo Campanella, Antonio Capellan, Giovanni Volpato, Domenico Cunego, Camillo Tinti, Francois Joseph Lonsing, Giuseppe Sforza Perini, Francesco Piranesi · published 1780/1792 and 1793 · 2 books bound in 1 vol: part 1: ill: 40 etching and engravings (4 double-page, rest full-page, versos blank) all by Francesco Piranesi with 19 after Tommaso Piroli, 14 after Ludovico Carazzari, 3 after Bernardino Nocchi, 2 after Lorenzo Rocchegiani, 1after after Baptiste Gagneraux; part 2: ill: 40 etching and engraving (including title page, all full-page versos blank) after paintings by various artists with 21 by Domenico Cunego, 8 by Giovanni Volpato, 4 by Antonio Capellani, 3 by Camillo Tinti, 1by Angelo Campanello, 1 by François Lonsing, 1 by Joseph Perini ·  Accession ID  1985.61.2615

Bibliography

1976

  • Pignatti, Terisio. Veronese. 2 vols. Venice, 1976.

1988

  • Rearick, W. R. The Art of Paolo Veronese, 1528-1588. Exh. cat. National Gallery of Art, Washington. Cambridge, 1988.

1991

  • Pignatti, Terisio, and Filippo Pedrocco. Veronese: Catalogo completo dei dipinti. Florence, 1991.

1996

  • Gisolfi, Diana. "Caliari. (1) Benedetto Calieri, (2) Carlo Caliari," and "Veronese, Paolo." In The Dictionary of Art. Edited by Jane Turner. 34 vols. New York and London, 1996: 5:431-432; 32:346-358.

2012

  • Rosand, David. Véronèse. Paris, 2012.

2013

  • Zamperini, Alessandra. Paolo Veronese. San Giovanni Lupatoto, Verona, 2013.

2014

  • Marini, Paola, and Bernard Aikema, eds. Paolo Veronese: L’illusione della realtà. Exh. cat. National Gallery, London; Palazzo della Gran Guardia, Verona. Milan, 2014.

  • Salomon, Xavier F. Veronese. London, 2014.