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Annunciation (c. 1420–1425) - Ashmolean Museum, Oxford |
Crucifixion with Two Angels (c. 1423) - Private collection |
Creation and Fall (c.1424–1425) - Lunette and lower section, Chiostro Verde, Santa Maria Novella, Florence |
Adoration of the Magi (c. 1431–1432) - Staatliche Kunsthalle, Karlsruhe |
Perspective Study of a Vase (c. 1430) - Uffizi Gallery, Florence |
Saint George Slaying the Dragon (c. 1430) - National Gallery of Victoria, Melbourne |
Quarate Predella (c. 1433) - Museo diocesano di Santo Stefano al Ponte, Florence |
Frescoes in the Capella dell' Assunta (c. 1434–1435) - Duomo, Prato |
Nun-Saint with Two Children (c.1434–1435) - Contini-Bonacosi Collection, Florence |
Funerary Monument to Sir John Hawkwood (c. 1436) - Duomo, Florence |
The Battle of San Romano, consisting of: |
Battle of San Romano: Niccolò da Tolentino (c. 1450–1456) - National Gallery, London |
Battle of San Romano: Bernadino della Ciarda unhorsed (c. 1450–1456) - Galleria degli Uffizi, Florence |
Battle of San Romano: Micheletto da Cotignola (c.1450) - Musée du Louvre, Paris |
St George and the Dragon (c. 1439–1440) - Musée Jacquemart-André, Paris |
Clock Face with Four Prophets/Evangelists (1443) - Duomo, Florence |
Resurrection (1443–1444) - stained glass window, Duomo, Florence |
Nativity (1443–1444) - stained glass window, Duomo, Florence |
Story of Noah (c. 1447) - lunette and lower section, Chiostro Verde, Santa Maria Novella, Florence |
Scenes of Monastic Life (c. 1447–1454) - S. Miniato al Monte, Florence |
Saint George and the Dragon (c. 1450–55) - National Gallery, London |
Crucifixion (c. 1457–1458) - Thyssen-Bornemisza Collection, Madrid |
Life of the Holy Fathers (c. 1460–1465) - Accademia, Florence |
Miracle of the Profaned Host (1467–1468) - predella, Galleria Nazionale delle Marche, Palazzo Ducale, Urbino |
The Hunt in the Forest (c. 1470) -- Ashmolean Museum, Oxford |
The Battle of Greeks and Amazons Before the Walls of Troy; Allegories of Faith and Justice; and Reclining Nude (c. 1460) - chest, Yale University Art Gallery, New Haven, Connecticut |
Notes and references |
Notes |
References |
Sources |
Giorgio Vasari's life of Paolo Uccello translated by George Bull in Lives of the Artists, Part 1. Penguin Classics, 1965. |
D'Ancona, Paola. Paolo Uccello. New York: McGraw Hill, 1961. |
Barolsky, Paul. "The Painter Who Almost Became a Cheese". Virginia Quarterly Review, 70/1 (Winter 1994). |
Borsi, Franco & Borsi, Stefano. Paolo Uccello. London: Thames & Hudson, 1994. (a massive monograph) |
Borsi, Stefano. Paolo Uccello. Art Dossier. Florence: Giunti, nd. |
Carli, Enzo. All the Paintings of Paolo Uccello. The Complete Library of World Art. London: Oldbourne, 1963. (originally published in Italian in the 1950s) |
Hudson, Hugh. Paolo Uccello: Artist of the Florentine Renaissance Republic. Saarbrücken: VDM Verlag Dr. Mueller, 2008. |
Hudson, Hugh. "From Via della Scala to the Cathedral: Social Spaces and the Visual Arts in Paolo Uccello's Florence". Place: An Interdisciplinary e-journal, 2007. |
Lavin, Marilyn Aronberg (1967). "The Altar of Corpus Domini in Urbino: Paolo Uccello, Joos Van Ghent, Piero della Francesca". Art Bulletin. 49 (1): 1–24. doi:10.2307/3048425. JSTOR 3048425. |
Manescalchi, Roberto. Paolo Uccello: un affresco dimenticato?. Florence: Grafica European Center of Fine Arts, 2006. ISBN 978-88-95450-19-3 |
Paolieri, Annarita. Paolo Uccello, Domenico Veneziano, Andrea del Castagno. Library of Great Masters. New York: SCALA/Riverside, 1991. |
Pope-Hennessy, John. Paolo Uccello: Complete Edition. 2nd ed. London: Phaidon, 1969. (the other important English-language monograph) |
Singh, Iona (2012). "Visual Syntax". Color, Facture, Art & Design. United Kingdom: Zero Books. pp. 65–82. |
External links |
Excerpts from Vasari's Life of Paolo Uccello |
Web Gallery of Art: Paolo Uccello |
Florence Art Guide: Paolo Uccello |
Paolo Uccello Homepage (in Italian) |
Paolo Uccello's Polyhedra |
Ron Schuler's Parlour Tricks: Getting Some Perspective |
Paolo Veneziano, also Veneziano Paolo or Paolo da Venezia (active by 1333, died after 1358) was a 14th-century painter from Venice, the "founder of the Venetian School" of painting, probably active between about 1321 and 1362. He has been called 'the most important Venetian painter of the 14th century'. His many signe... |
He led the development in Venice of the elaborately-framed polyptych or "composite altarpiece" form, which became popular all over Italy during the 13th century, partly in response to liturgical changes (only reversed in the 20th century) which placed the priest celebrating mass on the same side of the altar as the con... |
His style is "still Byzantine", that is to say Italo-Byzantine, but increasingly influenced by the Gothic art developing north of the Alps, and personal elements. However, influence from Giotto is "almost entirely absent". |
Life |
He was born to a family of artists. He operated a large workshop in which he worked together with his sons Marco, Luca, and Giovanni. He was the official painter of Andrea Dandolo, for whom he and his sons Luca and Giovanni painted the Pala Feriale or “weekday altarpiece”, for the famous metalwork and enamel Pala d'Or... |
Paolo was in the past identified with the artist responsible for the works attributed to the Master of the Washington Coronation. There is no longer unanimity among art historians regarding this identification. |
Style |
Paolo's style was indebted to Byzantine influences but also betrays a knowledge of contemporary painting in Rimini. His more advanced works show the influence of Gothic art. Through his art he was the founder of the Venetian school which would exert its influence throughout the 14th century and in particular on Loren... |
Notes |
References |
Steer, John, Concise History of Venetian Painting, 1970, London: Thames and Hudson (World of Art), ISBN 0500181071, reissued in 1986 as Venetian Painting: A Concise History. |
"Venice: Mundus Alter" in "Virgin and Child", Italian Renaissance Learning Resources, Oxford Art Online In collaboration with the National Gallery of Art, online |
External links |
Paolo Veneziano at the National Gallery of Art |
Paolo Veneziano: Art & Devotion in 14th-Century Venice, July 13–October 3, 2021, Getty Center |
"There has never been a U.S. show devoted to Venice’s first great painter, Paolo Veneziano. Until now." Review by Sebastian Smee of Getty Center exhibition. |
"‘Paolo Veneziano: Art & Devotion in 14th-Century Venice’ Review: Worshiping at the Altar of Beauty" Review by Peter Plagens of Getty Center exhibition. |
Media related to Paolo Veneziano at Wikimedia Commons |
Paolo Caliari (1528 – 19 April 1588), known as Paolo Veronese ( VERR-ə-NAY-zay, -zee, US also -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... |
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 w... |
He has always been appreciated for "the chromatic brilliance of his palette, the splendor and sensibility of his brushwork, the aristocratic elegance of his figures, and the magnificence of his spectacle", but his work has been felt "not to permit expression of the profound, the human, or the sublime", and of the "grea... |
Life and work |
Birth and names |
Veronese took his usual name from his birthplace of Verona, then the largest possession of Venice on the mainland. The census in Verona attests that Veronese was born sometime in 1528 to a stonecutter, or spezapreda in the Venetian language, named Gabriele, and his wife Caterina. He was their fifth child. It was common... |
Youth |
By 1541, Veronese was apprenticed with Antonio Badile, who was later to become his father-in-law, and in 1544 was an apprentice of Giovanni Francesco Caroto; both were leading painters in Verona. An altarpiece painted by Badile in 1543 includes striking passages that were most likely the work of his fifteen-year-old a... |
In his late teens he painted works for important churches in Verona, and in 1551 he was commissioned by the Venetian branch of the important Giustiniani family to paint the altarpiece for their chapel in the church of San Francesco della Vigna, which was then being entirely rebuilt to the design of Jacopo Sansovino. I... |
In 1552 Cardinal Ercole Gonzaga, great-uncle of the ruling Guglielmo Gonzaga, Duke of Mantua, commissioned an altarpiece, Temptation of St. Anthony for Mantua Cathedral (now at the Musée des Beaux-Arts de Caen in Caen, France), which Veronese painted in situ. He doubtless used his time in Mantua to study the ceilings b... |
Venice |
Veronese moved to Venice in 1553 after obtaining his first state commission, ceilings in fresco decorating the Sala dei Consiglio dei Dieci (the Hall of the Council of Ten) and the adjoining Sala dei Tre Capi del Consiglio in the Doge's Palace, in the new rooms replacing those lost in the fire of 1547. His panel of Ju... |
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. Owing to its scattered composition and lack of focus, however, it was not his most successful refectory mural. In the late 1550s, during a break in his work fo... |
The Wedding at Cana, painted in 1562–1563, was also a collaboration with Palladio. It was commissioned by the Benedictine monks for the San Giorgio Maggiore Monastery, on the eponymous small island across from Saint Mark's, in Venice. The contract insisted on the huge size (to cover 66 square meters), and that the pigm... |
In the refectory paintings, as in The Family of Darius before Alexander (1565–1570), 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 ... |
Also painted between 1565 and 1570 is his Madonna and Child with St. Elizabeth, the Infant St. John the Baptist, and St. Justina (now in the Timken Museum of Art, San Diego). In this work St. Justina, a patroness of Padua and Venice, is at the right with the Blessed Virgin Mother and the Christ child in the center. In ... |
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