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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 signed and dated works, some in collaboration with his sons, range between 1333 and 1358. He was regarded as the official painter of the Venetian Republic.
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 congregation, so with his back to them for much of the time. This encouraged the creation of altarpieces behind and above the altar, as a visual devotional focus. He is the oldest Venetian painter whose name is known, and the earliest to paint the new subject of the Coronation of the Virgin.
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'Oro of the St Mark's Basilica in Venice, which was only opened on Sundays and feast days. Unfortunately most of the many scenes of these painted covers, probably his most prestigious commission, are now lost.
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 Lorenzo Veneziano, apparently not a relation, but possibly a pupil.
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 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.
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 "great trio" he has often been the least appreciated by modern criticism. Nonetheless, "many of the greatest artists ... may be counted among his admirers, including Rubens, Watteau, Tiepolo, Delacroix, and Renoir".
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 for surnames to be taken from a father's profession, and thus Veronese was known as Paolo Spezapreda. He later changed his name to Paolo Caliari, because his mother was the illegitimate daughter of a nobleman called Antonio Caliari. His earliest known painting is signed "P. Caliari F., "the first known instance in which he used this surname", and after using "Paolo Veronese" for several years in Venice, after about 1575 he resumed signing his paintings as "Paolo Caliari". He was often called "Paolo Veronese" before the last century to distinguish him from another painter from Verona, "Alessandro Veronese", now known as Alessandro Turchi (1578–1649).
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 apprentice; Veronese's precocious gifts soon surpassed the level of the workshop, and by 1544 he was no longer residing with Badile. Although trained in the culture of Mannerism then popular in Parma, he soon developed his own preference for a more radiant palette.
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. In the same year he worked on the decoration of the Villa Soranzo near Treviso, with his fellow Veronese Giovanni Battista Zelotti and Anselmo Canneri; only fragments of the frescos remain, but they seem to have been important in establishing his reputation. The description by Carlo Ridolfi nearly a century later mentions that one of the mythological subjects was The Family of Darius before Alexander, the rare subject in Veronese's grandest treatment of secular history, now in the National Gallery, London.
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 by Giulio Romano; it was as a painter of ceiling frescos that he would initially make his mark in Venice, where he based himself permanently from the following year.
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 Jupiter Hurling Thunderbolts at the Vices for the former is now in the Louvre. He then painted a History of Esther on the ceiling for the church of San Sebastiano (1556–57). It was these ceiling paintings and those of 1557 in the Marciana Library (for which he was awarded a prize judged by Titian and Sansovino) that established him as a master among his Venetian contemporaries. Already these works indicate Veronese's mastery in reflecting both the subtle foreshortening of the figures of Correggio and the heroism of those by Michelangelo.
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 for San Sebastiano, Veronese decorated the Villa Barbaro in Maser, a newly finished building by the architect Andrea Palladio. The frescoes were designed to unite humanistic culture with Christian spirituality; wall paintings included portraits of the Barbaro family, and the ceilings opened to blue skies and mythological figures. Veronese's decorations employed complex perspective and trompe-l'œil, and resulted in a luminescent and inspired visual poetry. The encounter between architect and artist was a triumph.
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 pigment and colors should be of premium quality. For example, the contract specified that the blues should contain the precious mineral lapis-lazuli. The contract also specified that the painting should include as many figures as possible. There are a number of portraits (including those of Titian and Tintoretto, as well as a self-portrait of Veronese) staged upon a canvas surface nearly ten meters wide. The scene, taken from the New Testament Book of John, II, 1–11, represents the first miracle performed by Jesus, the making of wine from water, at a marriage in Cana, Galilee. The foreground celebration, a frieze of figures painted in the most shimmering finery, is flanked by two sets of stairs leading back to a terrace, Roman colonnades, and a brilliant sky.
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 been tiresome in a living room or chapel, and that the narrative of the picture could best be absorbed as a colorful diversion. 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. 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 a daughter and four sons.
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 contrast to Italian works of a century earlier the infant is rendered convincingly as an infant. What makes one stop and take notice in this painting is the infant's reaching out to St. Justina, since a baby of this age would normally limit his gaze to his mother. Completing the work is St. Elizabeth, the cousin of Mary and mother of St. John the Baptist, located on the left. The artist delicately balances the forms of the extended Holy Family and renders them using a superb balance of warm and cool colors.