The complete press release is available for

The illusion
of re ali ty
Verona, Palazzo della Gran Guardia
5 July – 5 October 2014
The art of Paolo Caliari, known as Paolo Veronese (1528-1588), returns to his native city with
an exhibition dedicated to the man and his work, promoted and organised by the Verona City
Council’s Department of Art Museums and Monuments, together with the University of Verona
and the Historical, Artistic and Ethno-Anthropological Heritage Office for the provinces of
Verona, Rovigo and Vicenza, in association with the National Gallery in London.
Mounted in Verona’s monumental Palazzo della Gran Guardia, this exhibition takes place 26
years after the Veronese and Verona show held in 1988 at the Castelvecchio Museum, and is being
curated by Paola Marini, director of the Castelvecchio Museum, and Bernard Aikema from the
University of Verona.
Veronese received his training in the Verona of Giovanni Caroto, Antonio Badile and above all
Michele Sanmicheli, before moving to Venice where he worked for the central part of his career and
became a leading figure in the city’s artistic scene along with Tiziano Vecellio and Jacopo Tintoretto.
He also ran a busy workshop with the assistance of, among others, his brother Benedetto and his
sons Carlo and Gabriele, who continued the studio’s activity after his death.
The exhibition will feature over 100 works, comprising both paintings and drawings, originating
from prestigious Italian and international museums such as the Gemäldegalerie in Dresden, the
National Gallery of Scotland in Edinburgh, the Uffizi Gallery in Florence, Palazzo Rosso in
Genoa, the British Museum and the National Gallery in London, the J. Paul Getty Museum in Los
Angeles, the Museo Nacional del Prado in Madrid, the Estense Gallery in Modena, the Brera Art
Gallery in Milan, the Metropolitan Museum of Art in New York, the Louvre Museum in Paris, the
Vatican Museums in Rome, the Gallerie dell’Accademia in Venice, the Kunsthistorisches Museum
in Vienna, and the National Gallery of Art in Washington.
The monographic exhibition will be the most extensive display of the artist’s work in Italy since
the outstanding show curated by Rodolfo Pallucchini in Venice in 1939. At Palazzo della Gran
Guardia, Paolo Veronese will be presented through six exhibition sections: his training in Verona;
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Press Release
his fundamental relations with architecture and architects (from Michele Sanmicheli to Jacopo
Sansovino and Andrea Palladio); his patrons; allegorical and mythological themes; religiousness;
and lastly his collaborations and workshop, which were important from the beginning of his work.
In addition to an ample selection of the artist’s masterpieces, the exhibition will feature numerous
exceptional drawings of great thematic and technical variety, with the aim of outlining the role of
planning and graphic reflection not only in Veronese’s creative process, but also in the productive
dynamics of his atelier.
With the occasion of the event, in April 2013 comprehensive restoration work began on the large
canvas by the Haeredes Pauli (“Paolo’s Heirs”) titled The Feast in the House of Levi (oil on canvas,
550 x 1010 cm), belonging to the Gallerie dell’Accademia in Venice and entrusted to the Verona
City Council. With the essential contribution of the Banca Popolare di Verona, the operation has
carried out by the restorer Barbara Ferriani with a “work-in-progress” approach. The work
ended in May 2014 and the big canvas is shown in the last section of the exhibition.
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Press Release
Title
Paolo Veronese. The illusion of reality
UNDER THE DISTINGUISHED PATRONAGE
OF THE PRESIDENT OF THE ITALIAN REPUBLIC
Curated by
Paola Marini and Bernard Aikema
Venue
Palazzo della Gran Guardia, Piazza Bra,Verona
Open from/to
5 July – 5 October 2014
Promoted and produced by Verona City Council
In collaboration with
University of Verona
Historical, Artistic and Ethno-Anthropological
Heritage Office for the provinces of Verona,
Rovigo and Vicenza
In association with
The National Gallery, London, on completion
of theiexhibition Veronese: Magnificence in Renaissance
Venice (19 March – 15 June 2014)
Communication Electa
and catalogue
organisation
With the support of
Veneto Regional Council,Verona Provincial Council,
Verona Chamber of Commerce, Wine Top, Cariverona,
Foundation, Cattolica, Banca Popolare di Verona,
Save Venice, Amici dei Civici Musei d’Arte di Verona,
Inner Wheel-Club Verona
With the contribution of
Falconieri, which enabled the transfer and handling
of the works from the National Gallery, London
NCTM e l’arte – a project by NCTM Studio Legale
Associato, Riello Industries, Belluzzo & Partners,
SDG Group, Allegrini
With the backing of
Stiftung Wolfgang Ratjen,Villa I Tatti
With thanks to
UniCredit
Veronesi Holding S.p.A
Technical sponsor
Fedrigoni, APICE
Media Partner
Corriere della Sera
Opening hours
Monday to Thursday,
Saturday and Sunday: 10:00am to 9:00pm
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Fa c t S h e e t
Friday: 10:00am to10:00pm (ticket office closes one hour before)
Admission
Full price 12 eurosù
Reduced rate 9 euros: students aged 18, university students with
undergraduate’s record book, over-65s, holders of admission tickets
to the Musei Civici di Verona (Verona Civic Museums), holders of
admission tickets to “Lamberti Tower + GAM”,VeronaCard holders,
ICOM card holders, ATV MoVer Card holders, and daily, three-day
and weekly ATV ticket holders, DB-ÖBB EuroCity rail ticket holders,
and ticket holders for the exhibition circuit Scopri il Veneto di Veronese
(“Discover the Veneto of Veronese”)
Reduced rate 6 euros: minors (7-17 years), disabled personal care
attendants
Free: children up to 6 years, disabled persons, MiBAC staff, journalists
with press card, licensed tour guides
Booking information guided tours
www.geticket.it/en_us
call centre +39 848 002 008 (Monday to Saturday, from
9:00am to 6:00pm)
advanced sale fee: 1.22 euros
The ticket price includes an audio guide for individual visitors.
For visitors with free admission the audio guide costs 5 euros.
Educational services
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tel. +39 045 8036353 – tel. +39 02 20404175
Monday to Friday: 9:00am-1:00pm / 2:00pm-4:00pm
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Special events and initiatives www.mostraveronese.com
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tel. +39 02 71 046 250
[email protected]
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tel. +39 02 71 046 456
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Social media
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4
Fa c t S h e e t
UNDER THE DISTINGUISHED PATRONAGE
OF THE PRESIDENT OF THE ITALIAN REPUBLIC
PROMOTED AND PRODUCED BY
IN COLLABORATION WITH
IN ASSOCIATION WITH
ORGANISATION
AND COMMUNICATION
The National Gallery, London,
on completion of their exhibition
Veronese: Magni�icence in Renaissance Venice
(19 March to 15 June 2014)
WITH THE SUPPORT OF
WITH THE CONTRIBUTION OF
WITH THANKS TO
WITH THE BACKING OF
Unicredit
Stiftung
Wolfgang Ratjen
Veronesi Holding s.p.a.
TECHNICAL SPONSOR
Villa I Tatti
DISCOVER THE EXHIBITION WITH
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Corriere
Eventi
5
Colophon
YOUTH
Paolo Caliari was born in the San Paolo district of Verona in 1528. The son of a stone mason, for
some time he signed his name as Paolospezapreda (or “stonecutter”), but it is not known for how
long or to what extent he helped his father as a sculptor. He was subsequently apprenticed with
Antonio Badile, a descendant of one of the oldest dynasties of painters in the city, and according
to Vasari, Giovanni Caroto introduced him to the study of antiquities, in which Verona is second
only to Rome.Verona’s artistic style had developed independently from that of the Republic of
Venice (to which the city belonged), and it was in this autonomous atmosphere that the young
Paolo received his training. However, right from his first works,Veronese stood out from the local
pictorial tradition by drawing inspiration from artists who were not necessarily from Verona, for
example Giulio Romano, Correggio, Parmigianino and others.Works such as The Sacrificial Death
of Marcus Curtius (Vienna, Kunsthistorisches Museum) and The Temptation of Saint Anthony (Caen,
Musée des Beaux-Arts) are representative of this early period. Paolo’s lively curiosity drove him
to turn his hand to numerous artistic languages, which, together with his exceptional technical
and compositional skills, quickly made him a sought-after artist even outside his native city.
In fact, he moved to Venice permanently between 1555 and 1557. The opening section of the
exhibition will therefore focus on the main aspects of Paolo Veronese’s training and early stylistic
development.
ARCHITECTURE
Known for the brilliant colours and elegant poses of the figures in his paintings, in the collective
imagination Paolo Veronese is the quintessential “decorative” painter. Other equally fundamental
elements of his work are the monumental architectural settings in which the scenes – both sacred
and secular – are portrayed, appearing like episodes from a theatrical performance. In Veronese’s
artistic language, the relationship between the painted space and real space is instrumental,
and it constantly drove the artist to pit his skills against the architectural surfaces that he was
called to decorate. By inventing backgrounds for his paintings, the walls of villas or the vaults
of churches, Paolo developed an illusionistic artistic idiom that lends substance to works such
as Saints Geminianus and Severus (Modena, Estense Gallery) and the Annunciation (Florence, Uffizi
Gallery). His attention for architecture is revealed in drawings such as the Study of Figures and
Architecture (Kassel, Staatliche Kunstsammlungen). This section deals with a sphere of studies on
Veronese that is considered fundamental, but is as yet scarcely explored by critics.
6
Th e e x h i b i t i o n
PATRONS
The sumptuous, solemn and elegant tone expressed in the paintings of Paolo Veronese was the
key to his success with an incredibly varied range of clients. Ecclesiastic orders, confraternities
and schools of devotion contended for his services with private patrons, for whom Caliari created
cycles of frescoes, large teleri da portego (or “hallway canvases” intended for the area of the house
where Venetian merchants conducted their business), and portraits. The latter category includes
the Portrait of a Lady, known as the Bella Nani (Paris, Musée du Louvre), and the Portrait of a
Gentleman (Los Angeles, Getty Museum).Veronese’s austere style loaded with classical references
was also well-suited to the taste of Venice’s new ruling class, which entrusted him with the
decoration of the most important public building in the city: the Doge’s Palace.Two fires in 1574
and 1577 had damaged the palace’s main rooms, and these interiors were redecorated by the
greatest artists of the time.Veronese played a central role in this undertaking, and the exhibition
reconstructs the innovative value of his contributions via some of the most important study
sketches that have survived to the present day.
MITH AND SENSUALITY
For the private clients themselves, Paolo Veronese was a painter of canvases that portrayed
mythological subjects, a genre that he rendered with extreme sensuality. Works such as The
Rape of Europa(Venice, Doge’s Palace) and Mars, Venus and Cupid (Edinburgh, National Gallery
of Scotland) adorned the private residences of patrons who were eager to admire the sinuous
feminine forms painted by Paolo in the intimacy of their own homes. This category of work
also includes the Four Allegories of Love (London, National Gallery), a series of canvases whose
iconography is still much debated, and which have returned to Italy for the first time in over
four centuries. But Veronese was also able to inject the same charge of sensuality into certain
religious themes, such as Judith and Holofernes (Genoa, Palazzo Rosso). This section will concern
Veronese’s role in the panorama of Venetian painting in the second half of the 16th century, and
the mechanisms through which his images became enormously successful among contemporary
collectors.
RELIGION
In the collective imagination,Veronese is usually seen as an artist of sumptuous, festive decorations,
a feature that, for example, characterises his versions of the Last Supper.Yet a considerable part of
Veronese’s work soundly resonates with the religious debate of the Counter-Reformation, making
Paolo – a great iconographic innovator – one of the leading and most sensitive exponents of this
new devotional spirit. This category of works includes the Rest on the Flight into Egypt(Sarasota,
Ringling Museum), several versions of the Adoration of the Magi (an outstanding example
being the canvas for the Church of Santa Corona in Vicenza), and altarpieces such as the Mystic
7
Th e e x h i b i t i o n
Marriage of Saint Catherine for the Church of Santa Caterina de’ Sacchi in Venice (today at the
Gallerie dell’Accademia). The magnificence of these paintings contrasts with works such as The
Good Samaritan (Dresden, Staatliche Kunstsammlungen) and the intense Christ in the Garden of
Gethsemane (Milan, Brera Art Gallery), in which the shades of colour become darker and the
landscape takes on a new role.This section of the exhibition intends to go beyond the brightness of
Veronese’s sacred paintings, aiming to explore the subject-matter of a vast production of religious
works that catered to a specific demand and devotional inclination in the society of his time.
THE WORKSHOP
Like every great Renaissance artist, Paolo Veronese did not disregard the support of an active
workshop that assisted and, when necessary, replaced him. Indeed, he gave work to many errand
boys, assistants and labourers. The number and type of such helpers varied according to the
quantity and kind of commissions Veronese received, hence it is difficult to establish precisely
how many were employed in his workshop. Nonetheless, among the most important of these
collaborators, it is worth mentioning his brother Benedetto (1538-1598) and his sons Gabriele
(1568-1631) and Carlo, or Carletto (1570-1596).
Part of the more recent acquisitions concerning the organisation of Paolo Caliari’s atelier will be
represented in the exhibition through paintings and drawings by some of the foremost members
of the workshop which can be compared to works by the master. With these concrete examples,
this section aims to reconstruct certain aspects of the internal organisation of Paolo Veronese’s
artistic studio.
8
Th e e x h i b i t i o n
Paolo Veronese was born in 1528 inVerona, in the district of San Paolo, to Gabriele
spezapreda (or “stonecutter”) and Caterina.After an initial apprenticeship as a stone mason serving
under his father, Paolo was apprenticed with Antonio III Badile to learn the secrets of painting.
His first independent commissions date from around 1546-1548, and at this stage Veronese was
also willing to join the decorators working on the constructions of Michele Sanmicheli. Paolo
may have encountered his first Venetian clients thanks to the visibility gained from his activity as
a fresco-painter on Sanmicheli’s building sites, which were often located outside Verona, as with
the so-called Villa Soranza (Castelfranco Veneto, 1551). The altarpieces created for the Church of
San Francesco della Vigna in Venice and Mantua Cathedral date from 1551 and 1552 respectively.
From this moment onwards the number of opportunities to work outside his native city greatly
increased, paving the way for his next big step, which occurred between 1554 and 1555 when
he moved to the Venetian lagoon to set up his house and workshop. In this period he obtained
his first commissions for the Doge’s Palace, for the sacristy and nave ceiling of the Church of San
Sebastiano, and for the Marciana Library. However, the definitive consecration came in the form
of a large decorative venture. Indeed, between 1559 and 1560 Veronese decorated the villa of the
Barbaro brothers in Maser (Treviso), where the imaginary spaces painted by the artist dialogue
with the real spaces designed by Andrea Palladio, in an illusionistic crescendo that brought fame
to Paolo Veronese. The shrewd and even-tempered artist, however, did not get carried away with
his success.With the growing number of both religious and private commissions during the early
1560s, he was able to invest his earnings in his first real-estate acquisitions. Furthermore, aided
by his brother Benedetto (1535/38-1598), he began to pay more attention to the organisation
of his workshop, which possessed a harmonious unity of purpose with its master in carrying out
significant decorative undertakings. The painter’s credibility grew hand in hand with his fame,
also among the official bodies of the Republic of Venice, which not only commissioned works
from him but also requested his professional consultancy. For example, in 1563 he was called
to settle a dispute between the Signoria and the Zuccato mosaicists concerning certain works
in Saint Mark’s Basilica. Temporarily back in Verona – a city with which he always remained
in contact – on 17 April 1566 Paolo married the 24-year-old Elena Badile, the daughter of his
former master and by whom he had four children. Gabriele and Carletto (the first and second
born) worked with him in the workshop from circa 1580 onwards.
The 1570s were busy years for Veronese. From the start of the decade, he continued to be in great
demand among major religious orders for his Feast paintings. Between 1570 and 1571 he execut-
9
B i o g ra p hy
ed the Feast in the House of Simon for the monastery of Santa Maria dei Servi in Venice (today at
the Musée National du Château de Versailles); in 1572 he painted the Feast of Saint Gregory the
Great for the Church of Mount Berico in Vicenza (in situ); between 1570 and 1573 he painted
the lost Feast in the House of Simon for the Convent of Mary Magdalene in Padua; and in 1573
the Feast in the House of Levi for the Dominican Basilica of Santi Giovanni e Paolo in Venice
(now at the Gallerie dell’Accademia in Venice). Again in 1573, Veronese was summoned before
an Inquisition hearing that ordered him to carry out modifications on the latter canvas, a verdict
which he effectively appeased by merely changing the painting’s title. This brush with the Inquisition did nothing to diminish his fame or the esteem that he enjoyed among the highest circles
of political power in Venice. In fact, the state entrusted him with a large part of the new decorations for the Doge’s Palace, some of whose main rooms had been destroyed by fires in 1574 and
1577. A sizeable portion of the ceilings and walls of the Sala del Collegio (“Hall of the College”)
and the Sala del Maggior Consiglio (“Hall of the Great Council”) were decorated by Veronese.
At the same time he also continued to receive commissions outside the city, and in the 1580s he
executed works for churches and palaces in Padua, Udine and Vicenza.
In the 1580s, Veronese’s sons Gabriele (1568-1631) and Carlo, known as Carletto (1570-1596),
also joined their father’s workshop. In doing so they marked the transition to a family-run business, firmly placing Veronese’s enterprise within the consolidated Venetian tradition of trades and
crafts that are handed down from father to son. During this decade, Veronese and his assistants
were principally occupied with a large number of religious commissions, despite winning the
competition to paint the large Paradise canvas for the Doge’s Palace in 1582 – an order which,
however, they were never able to fulfil. The religious works mainly consisted in altarpieces, but
also private devotional paintings. Indeed, over the years Veronese had developed an artistic language that suited the renewed spirituality of the Counter-Reformation, with the result that his
works were among the most popular of the time. It perhaps comes as no surprise that Veronese’s
last precisely datable painting is Saint Pantaleon Healing a Child, executed in 1587 for the church
in Venice dedicated to this saint.
Paolo Veronese died on the night of 19 April 1588, at his home in Venice in the parish of San
Samuele. He had been suffering from a lung infection contracted a few days earlier while visiting his estate in Sant’Angelo (Treviso) for the Easter festival. His family had him buried at the
Church of San Sebastiano, in what can rightly be considered a temple to Veronese. Subsequently,
for several years Veronese’s brother Benedetto and his sons Gabriele and Carletto continued the
workshop’s activity and the memory of its master, sometimes eloquently signing their works with
the name “Haeredes Pauli Caliari Veronensis”
10
B i o g ra p hy
✤
opere presenti alla mostra di Londra
ITALIA
Bergamo, Accademia Carrara
1. Carletto Caliari, Studio per uomo appoggiato al gomito destro; 296 X 201 mm
Castelfranco Veneto (TV), Duomo di S. Maria Assunta e S. Liberale
2. Paolo Veronese (?), La Prudenza(?); 200 X 100 cm
Firenze, Gabinetto Disegni e Stampe degli Uffizi
3. Paolo Veronese, Studio per testa di donna, inv. S.7431; 437 X 231 mm
4. PaoloVeronese, Due profeti (recto), Studio per figure sedute e Vergine col Bambino (verso), inv. 12894F; 198 X 259 mm
5. Paolo Veronese, Studio per san Giorgio che uccide il drago, inv. 19845F; 410 X 505 mm
Firenze, Galleria degli Uffizi
6. Paolo Veronese, Annunciazione, Inv. 1890 n. 899; 143 X 291 cm
✤ 7. Paolo Veronese, Madonna col Bambino, santi e donatori (bozzetto per la Pala Bevilacqua); 50 X 36 cm
Firenze, Palazzo Pitti, Galleria Palatina
8. Paolo Veronese, Battesimo di Cristo, Inventario Palatina, n. 186 (1912); 195 X 131,5 cm
Genova, Musei di Strada Nuova, Palazzo Rosso
✤ 9. Paolo Veronese, Giuditta e Oloferne, inv. 95; 195 X 176 cm
Milano, Pinacoteca di Brera
✤ 10. Paolo Veronese, Cristo nell’orto nel Getsemani, inv. Gen.115; 80 X 108 cm
Modena, Galleria Estense
✤ 11. Paolo Veronese, I santi Geminiano e Severo, inv. 407; 343 X 240 cm
✤ 12. Paolo Veronese, San Menna; 246 X 120,5 cm
✤ 13. Paolo Veronese, San Giovanni Battista; 246 X 119,5 cm
Roma, Galleria Borghese
✤ 14. Paolo Veronese, La predica del Battista, inv. 137; 208 X 140 cm
11
Wo r k l i s t
Roma, Galleria Colonna
✤ 15. Paolo Veronese, Ritratto di gentiluomo, 124 X 94,8 cm
Roma, Pinacoteca Capitolina
16. Paolo Veronese, Allegoria della Pace; 105 X 64 cm
17. Paolo Veronese, Allegoria del Buon Governo; 105 X 64 cm
Roma, Pinacoteca Vaticana
✤ 18. Paolo Veronese, La visione di sant’Elena, inv. 40352; 166 X 134 cm
19. Paolo Veronese, Allegoria delle Arti Liberali, inv. 40346; diametro 105 cm
Torino, Galleria Sabauda
20. Paolo Veronese, La cena in casa di Simone, inv. 580; 315 X 451 cm
✤ 21. Paolo Veronese, Marte e Venere, inv. 683; 47 X 47 cm
Venezia, Gallerie dell’Accademia
✤ 22. Paolo Veronese, Madonna col Bambino in trono e i santi detta Pala Bonaldi, inv. 345; 341,5 X 193 cm
✤ 23. Paolo Veronese, Matrimonio mistico di santa Caterina, inv. 1170; 337 X 241 cm
24. Paolo Veronese, Allegoria della battaglia di Lepanto, inv. 136; 169 X 137 cm
25. Bottega di Paolo Veronese, Incoronazione della Vergine (Pala di Ognissanti); 396 X 219cm
26. Haeredes Pauli Veronensis, Adorazione dei pastori; 235 X 137 cm
27. Haeredes Pauli Veronensis, Cena in casa di Levi, in deposito presso il Comune di Verona; 550 X 1010 cm
Venezia, Galleria G. Franchetti alla Ca’ d’Oro
28. Alessandro Vittoria, Il parroco Benedetto Manzini; 75 X 58 X 37 cm
Venezia, Palazzo Ducale
29. Paolo Veronese, Ratto di Europa; 235 X 296 cm
Venezia, San Pantaleon
✤ 30. Paolo Veronese, San Pantaleone risana un fanciullo; 277 X 160 cm
Venezia, San Sebastiano
31. Paolo Veronese, Allegoria della Carità; diametro 95 cm
32. Paolo Veronese, Allegoria della Fede; diametro 95 cm
33. Paolo Veronese, Allegoria della Speranza; diametro 95 cm
34. Paolo Veronese, Allegoria della Giustizia; diametro 95 cm
Verona, Museo di Castelvecchio
35. Paolo Veronese, Madonna col Bambino e santi, detta Pala Bevilacqua; 233 X 172 cm
36. Paolo Veronese, Deposizione, 76 X 119 cm
37. Bottega di Paolo Veronese, Battesimo di Cristo; 270 X 165 cm
Vicenza, Santa Corona
✤ 38. Paolo Veronese, Adorazione dei Magi; 375 X 228 cm
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Wo r k l i s t
AUSTRIA
Vienna, Albertina
39. Paolo Veronese, Allegoria della Vittoria, n. 40; 386 X 276 mm
Vienna, Kunsthistorisches Museum
40. Paolo Veronese, Marco Curzio, Inv.-Nr. GG_6744; diametro 221,5 cm
✤ 41. Paolo Veronese, Consacrazione di Davide, Inv.-Nr. GG_40; 174 X 365 cm
FRANCIA
Caen, Musée des Beaux-Arts
✤ 42. Paolo Veronese, Tentazione di sant’Antonio, inv. 6; 198,2 X 149,5 cm
Lille, Musée des Beaux-Arts
43. Paolo Veronese, Studio per il paradiso; 87 X 234 cm
Paris, Ecole des Beaux-Arts
44. Paolo Veronese, Studi di costume per l’Edipo Re di Sofocle, inv. 415; 26,3 X 20,6 mm
Paris, Musée du Louvre
Departement des peintures:
✤ 45. Paolo Veronese, Resurrezione della figlia di Jairo, inv. 141; 42 X 37 cm
✤ 46. Paolo Veronese, Ritratto di donna (Bella Nani), inv. RF 2111; 119 X 103 cm
47. Paolo Veronese, Il Calvario, inv. 145; 102 X 102 cm
Paris, Musée du Louvre
Departement des arts graphiques:
48. Paolo Veronese, Studio per il Trionfo di Mardocheo e l’incoronazione di Ester, RF 38926; 150 X 177 mm
49. Paolo Veronese, La Vergine e il Bambino con sei angeli musicanti, INV 4666; 378 X 290 mm
50. Paolo Veronese, S. Antonio tormentato dai demoni, INV 4842; 414 X 356 mm
51. Paolo Veronese, Testa di giovane nero, INV 4679; 278 X 205 mm
52. Paolo Veronese, Studio per l’Adorazione dei Magi, RF 38927; 295 X 380 mm
53. Paolo Veronese, Studio per un miracolo di San Pantalon RF 38928; 214 X 245 mm
54. Carletto Caliari, Studio per Adorazione dei pastori; 306 X 176 mm
55. Benedetto Caliari, Studio per la Nascita della Vergine; 111 X 137 mm
56. Benedetto Caliari, Studio per testa di donna; 334 X 245 mm
57. Gabriele Caliari, Studio per la Fede; 110 X 88 mm
Rennes, Musée des Beaux-Arts
✤ 58. Paolo Veronese, Perseo e Andromeda, inv. 1801.1.1; 260 X 211 cm
GERMANIA
Amburgo, Hamburger Kunsthalle
59. Paolo Veronese, Studi per la Fama, la Pace e una cornice; 256 X 310 mm
13
Wo r k l i s t
Berlino, Staatliche Museen, Gemäldegalerie
60. Paolo Veronese, Cristo morto sorretto da due angeli, Kat. Nr. 295; 110 X 94 cm
Berlino, Staatliche Museen, Kupferstichkabinett
61. Paolo Veronese, Studio per La pittura Sesta e Riposo nella fuga in Egitto, KdZ26362; 194 X 203 mm
62. Paolo Veronese, Studio per armatura, KdZ2034; 380 X 254 mm
63. Paolo Veronese, Studio per le Nozze di Cana, KdZ502; 206 X 174 mm
64. Paolo Veronese, Studio per un lamento sul Cristo morto e Cena in Emmaus, KdZ26358; 155 X 205 mm
65. Paolo Veronese, Studio per cavaliere, un prigioniero, un cane e un tamburo, KdZ22070; 166 X 103 mm
66. Paolo Veronese, Studi per Incoronazione della Vergine, KdZ26356; 153 X 212 mm
67. Paolo Veronese, Studi per Santi per Incoronazione della Vergine, KdZ26360; 304 X 212 mm
68. Paolo Veronese, Studio per l’Agonia nell’orto, KdZ18457; 131 X 169 mm
69. Paolo Veronese(?), Studio per Adorazione dei pastori, KdZ26359; 136 X 213 mm
70. Paolo Veronese, Studi per il Trionfo di Mordecai, KdZ26357; 129 X 112 mm
71. Paolo Veronese, Studio per una risurrezione di Lazzaro, KdZ26361; 215 X 141 mm
72. Paolo Veronese, Studio per una lavanda dei piedi, KdZ26385; 153 X 214 mm
Dresda, Gemäldegalerie
✤ 73. Paolo Veronese, Resurrezione di Cristo, Gal.-Nr. 235; 136 X 104 cm
74. Paolo Veronese, Il buon samaritano, Gal.-Nr. 230; 167,5 X 253 cm
Kassel, Staatliche Kunstsammlungen
75. Paolo Veronese, Studio per Venezia in trono, n. 83; 24,8 X 20,6 cm
76. Paolo Veronese, Studio di figure e architetture, n. 91; 32,5 X 22,5 cm
Monaco, Staatliche Graphische Sammlung
77. Paolo Veronese, Studi per il Papa Alessandro III accolto dal Doge Sebastiano Ziani, e Papa Alessandro III
e Sebastiano Ziani inviano messaggeri a Federico Barbarossa, Inv. 1951:63; 301 X 209 mm
Stoccarda, Koenig Fachsenfeld
78. Paolo Veronese, Studio per il Ratto d’Europa, la Madonna del Rosario e la Pietà; 296 X 274 mm
GRAN BRETAGNA
Edinburgh, National Gallery of Scotland
✤ 79. Paolo Veronese, Venere, Marte e Cupido, inv. 339; 165,2 X126,5 cm
Leeds, Harewood House
✤ 80. Paolo Veronese, Ritratto di uomo, 180 X 110 cm
London, British Museum
81. Paolo Veronese, Riposo durante la fuga in Egitto, inv. 1854-06-28-4; 316 X 239 mm
82. Paolo Veronese, Studio per Venere e Cupido, inv. 1951-11-10-79; 171 X 127 mm
83. Paolo Veronese, Studio per la Moderazione, inv. 1969-4-12-4; 207 X 227 mm
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London, National Gallery
84. Paolo Veronese, Cristo e l’adultera, NG931; 117,5 X 163,5 cm
85. Paolo Veronese, Allegorie d’amore. L’unione felice, NG1326; 187,4 X 186,7 cm
86. Paolo Veronese, Allegorie d’amore. L’infedeltà, NG1318; 189,9 X 189,9 cm
87. Paolo Veronese, Allegorie d’amore. Il disinganno, NG1324; 186,6 X 188,5 cm
88. Paolo Veronese, Allegorie d’amore. Il rispetto, NG1325; 186,1 X 194,3 cm
London, collezione privata
89. Carletto Caliari, Maddalena penitente, 126,4 X 97,7 cm
London, collezione privata
90. Paolo Veronese, Divinità naturali in un paesaggio; 421 X 564 mm
Oxford, Christ Church
91. Paolo Veronese, Studio per un’Incoronazione della Vergine, n. 117; 305 X 210 mm
Richmond-upon-Thames
92. Scuola Nord Italiana, Giovane pittore di 18 anni, National Trust Inv. N. 1139909; 20,9 X 27,5 cm
NEDERLAND
Rotterdam, Museum Boymans-Van Beuningen
93. Paolo Veronese, Studio per il Matrimonio mistico di Santa Caterina e la Santa Famiglia con sant’Anna,
Giovanni Battista e Caterina, n. 56; 306 X 199 mm
94. Benedetto Caliari, Copia del Riposo durante la fuga in Egitto; 309 X 211 mm
95. Benedetto Caliari, Studio per San Sebastiano (recto) e studio per Cristo (verso); 240 X 197 mm
REPUBBLICA CECA
Praga, Museo del Castello
96. Paolo Veronese, Ritratto di Jacob König; 83 X 73 cm
Jaromerice, The Jaroměřice nad Rokytnou State château
97. Paolo Veronese, Ritratto di Collaltino Collalto; 134 X 110 cm
SPAGNA
Madrid, Museo del Prado
✤ 98. Paolo Veronese, Il ritrovamento di Mosè, inv. 502; 57 X 43 cm
✤ 99. Paolo Veronese, Cristo e il centurione, inv. 492; 192 X 297 cm
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STATI UNITI
Los Angeles, J. Paul Getty Museum
✤ 100. Paolo Veronese, Ritratto di uomo, inv. A71-P-17; 192, 1 X 134 cm
101. Paolo Veronese, Studio Cristo tra i dottori, inv. 83.GA.266; 78 X 170 mm
New York, Metropolitan Museum
102. Paolo Veronese, Alessandro Vittoria, Acc. N. 46.31; 110, 5 X 81,9 cm
103. Paolo Veronese, Studi per le quattro Allegorie dell’Amore; 22,2 X 32,0 cm
104. Paolo Veronese, Allegoria della Redenzione del Mondo; 42 X 61,3 cm
New York, Pierpont Morgan Library
105. Paolo Veronese, Studio per il ritrovamento di Mosé; 171 X 186 mm
New York, collezione privata
106. Paolo Veronese, Studio per Allegoria della Lega Santa; 216 X 311 mm
Sarasota, Ringling Museum
✤ 107. Paolo Veronese, Riposo durante la fuga in Egitto, inv. 82; 236,2 X 161,3 cm
Washington, National Gallery of Art
108. Paolo Veronese, Martirio e ultima comunione di santa Lucia, inv. 1984.28.1; 140 X 173 cm
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Veronese i t i n e ra r i e s i n Ve n e t o
PAOLO VERONESE
L’illusione della realtà
a cura di
Paola Marini e Bernard Aikema
PAGINE: 400
ILLUSTRAZIONI: 198
formato: 24x24
PREZZO: 35 euro
30 euro al bookshop della mostra
IN LIBRERIA: luglio 2014
SOMMARIO
Introduzione
Paola Marini, Bernard Aikema
1) La giovinezza
L’esordio
Bernard Aikema
Opere
Per Paolo Spezapreda
Stefano Lodi, Ettore Napione
I rapporti di Paolo con
l’ambiente artistico veronese
negli anni della Soranza
Diana Gisolfi
2) Architettura e
decorazione
Un “molto grande teatro”:
Veronese e l’architettura
Paola Marini
Opere
Opere
Regesto
Thomas Dalla Costa
4) Mito e sensualità
Bibliografia
Le seduzioni di Paolo
Enrico Maria Dal Pozzolo
Indice dei nomi
a cura di Thomas Dalla Costa
Opere
Il fondo Pietro Caliari alla
Biblioteca Civica di Verona
Agostino Contò
5) La religiosità
Pictor religiosus
Bernard Aikema
Opere
6) Il disegno e l’officina
Una penna particolarmente
felice
Bernard Aikema, Thomas Dalla Costa
Paolo Veronese e la bottega
Le botteghe dei Caliari
Thomas Dalla Costa
3) La committenza
Opere
La “presenza” dei committenti
nei dipinti di Paolo Veronese
Stefania Mason
7) Itinerario a Verona
Opere non in mostra
Veronese pittore di Stato
Giorgio Tagliaferro
18
catalogue
l’allestimento della mostra
“PAolo Veronese. L’illusione
della realtà”
Alba Di Lieto, Nicola Brunelli

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