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Paolo Veronese offers new accessibly-written scholarship from leading scholars in the field.
The book features famous works from American collections including the National Gallery of Art, the J. Paul Getty Museum, and the Cleveland Museum of Art.
Accompanies a major exhibition at The John and Mable Ringling Museum of Art.
Paolo Veronese is acknowledged as one of the giants of Venetian Renaissance painting. His artistic production was richly varied, extending from imposing altarpieces to smaller religious paintings for private clients, from grand portraits to sensual episodes drawn from the classical tradition. Veronese was also an outstanding draughtsman, and his graphic oeuvre ranged from preliminary sketches to highly finished chiaroscuro sheets. A foreigner in Venice, he created paintings for Venetian clients and settings, as well for the mainland and export abroad. Thus, Veronese's art was unusually versatile for its time.
This magnificently illustrated book will display this extraordinary versatility and examine Veronese's artistic practice, concentrating on works from North American collections. For a sixteenth-century painter, many of whose works are in fresco or on enormous canvases still in situ, Veronese is unusually broadly represented in North America. At the same time, the broad spectrum of Veronese as a painter and draughtsman has not been available to American audiences in over two decades. This publication authored by an international team of experts, will be a major contribution to Veronese studies.
- Sales Rank: #1569624 in Books
- Published on: 2013-01-16
- Original language: English
- Number of items: 1
- Dimensions: 11.39" h x 1.12" w x 10.45" l, .0 pounds
- Binding: Hardcover
- 288 pages
About the Author
Virginia Brilliant is Curator of European Art at the John and Mable Ringling Museum of Art in Sarasota, FL. Frederick Ilchman is the Mrs. Russell W. Baker Curator of Paintings at the Museum of Fine Arts, Boston
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25 of 27 people found the following review helpful.
A Fine Veronese Contribution
By Kenneth Hughes
This volume is the catalogue that accompanies the exhibition of the same name at The John and Mable Ringling Museum of Art in Sarasota, Florida (December 2012-April 2013). Most of Veronese's greatest works are frescoes or enormous canvases decorating walls and ceilings in Venice, and they must be seen there, since they are far too large to be transported. But, as Virginia Brilliant, Curator of European Paintings at The Ringling and editor of the catalogue, points out, the range of examples of Veronese's art that can be assembled for an exhibition is quite broad enough to support a survey of his oeuvre as comprehensive as this one is. Surprisingly, it turns out that Veronese is so well represented in North America that this entire show of paintings, drawings, and prints could be put together from twenty-six public and some private collections in the US and Canada. Even more surprisingly, Sarasota turns out to be a logical place to mount a major Veronese exhibition, since it is home to a number of important canvases, including the most celebrated "Rest on the Flight to Egypt" (1572, the cover illustration), which was John Ringling's first purchase for his new museum--and his most fortuitous, it having been deaccessioned in 1925 from Munich's Alte Pinakothek in the mistaken belief that it was in fact by Veronese's son Carletto. That erroneous misattribution is a result of the circumstance that is the central thesis of this exhibition: that Veronese's work cannot be judged truly except in the context of his workshop productions. What is wholly autograph, what only partly so and what is mostly or even entirely workshop product is a vexing question in all Venetian bottega painting, but perhaps especially so in the case of Veronese, who ran one of the tighter organizations of the sort. It is illuminating and instructive to follow the experts' reasoning as they analyze the paintings and tease out the varying contributions.
There are seventeen diverse scholarly essays by thirteen writers, some of whom (among them David Rosand, Frederick Ilchman, and John Garton) are familiar from recent Veronese studies. They range in topic from the artist's education in the workshop tradition and the organization of his own workshop to the iconography of his religious paintings to special studies of his drapery effects, a technical examination of his materials and techniques, etc. I found almost all of these pieces to be interesting and informative. There are seventy catalogue entries supported by eighty-seven companion illustrations and several detail studies, making the catalogue a much broader pictorial survey than the exhibition. The reproductions are for the most part sharp and in excellent color; the saturation of the jacket illustration is fairly representative of the whole. The apparatus includes an exhibition checklist with pertinent curatorial data, provenance, and selected references; a chronology of the artist's life; a bibliography of works cited; and a comprehensive index. This is not a huge volume (288 pages), but it is excellently edited, beautifully produced, and a substantial contribution to the literature on Veronese.
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