Housed in the Louvre in Paris, which enormous oil on canvas painted by Paolo Veronese depicts the moment when Jesus turned the water into wine?
"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"
"The Conversion of Mary Magdalene The Conversion of Mary Magdalene is an oil painting, an early work by the Italian Renaissance artist based in Venice, Paolo Veronese (1528–1588). He was known for his sumptuous paintings with a dramatic and colourful style. Dating from circa 1545–1548, the painting was commissioned by a noble patron in Verona. The subject of the painting was debated, and the general opinion is that it depicts the conversion of Mary Magdalene, according to Pietro Aretino's book description of this scene in his work ""L'umanità di Cristo"" from 1535. The book was a version of the Gospels"
"The Feast in the House of Levi The Feast in the House of Levi or Christ in the House of Levi is a 1573 painting by Italian painter Paolo Veronese and one of the largest canvases of the 16th century, measuring . It is now in the Gallerie dell'Accademia in Venice. It was painted by Veronese for the rear wall of the refectory of the Basilica di Santi Giovanni e Paolo, a Dominican friary, as a ""Last Supper"", to replace an earlier work by Titian destroyed in the fire of 1571. However, the painting led to an investigation by the"
"of decorating the most holy and sacred of scenes with people clad in shimmering fur-lined gowns made of silks and brocades, more reminiscent of Venetian high society than humble representations of the subjects. When the Inquisition questioned his choice of representing holy subjects he answered: """"we painters take liberties, the same way that poets and lunatics do"""", asserting his liberty as an artist in his choice of representing his subjects. The Conversion of Mary Magdalene The Conversion of Mary Magdalene is an oil painting, an early work by the Italian Renaissance artist based in Venice, Paolo Veronese (1528–1588). He was"
"Adoration of the Magi (Veronese) The Adoration of the Magi by the Venetian artist Paolo Veronese is a large oil painting on canvas dated to 1573 which has been in the National Gallery, London since 1855, shortly after it was sold by the Venetian church for which it was commissioned. It shows the common subject in the Nativity art of the visit by the Three Kings to the infant Jesus, here given a grandly theatrical treatment typical of Veronese's mature works. It was not an altarpiece, having been painted to hang beside rather than over a side altar in the"
"Bathsheba at her Bath (Veronese) Bathsheba at her Bath is a painting by Italian Renaissance painter Paolo Veronese, dated around 1575 and now in the Musée des Beaux-Arts de Lyon, France. This work is a marriage painting by Veronese ordered by a Venetian customer dealing with the theme of adultery linked to that of Justice and shows eroticism between the main two characters. The painting arrived in France in the seventeenth century in the royal collections. It was then kept at the Palace of Versailles, enlarged atop and on the left side to match the woodwork. It was sent to"
"painting that now stands at the original site, within the Palladian architecture of the Benedictine refectory on San Giorgio Maggiore. The soundtrack features music and imagined dialogue scripted by Greenaway for the 126 ""wedding guests, servants, onlookers and wedding crashers"" depicted in the painting, consisting of small talk and banal chatter that culminates in reaction to the miraculous transformation of water to wine, according to the Gospels the first miracle performed by Jesus. Picasso's ""Guernica"", Seurat's ""Grande Jatte"", works by Jackson Pollock and Claude Monet, Velázquez's ""Las Meninas"" and Michelangelo's ""The Last Judgment"" are possible series subjects. Peter Greenaway Peter"
"across the picture. Rather unusually, the ground is calcium carbonate with glue as a binding medium, rather than the usual gesso based on calcium sulphate; it is not primed. Many pigments used have been identified, and there has been some discolouration. Adoration of the Magi (Veronese) The Adoration of the Magi by the Venetian artist Paolo Veronese is a large oil painting on canvas dated to 1573 which has been in the National Gallery, London since 1855, shortly after it was sold by the Venetian church for which it was commissioned. It shows the common subject in the Nativity art"
"in 1910 it was sold to the Metropolitan Museum of Art. Venus and Mars (Veronese) Venus and Mars is an Italian Renaissance painting by Paolo Veronese. The painting was commissioned by Emperor Rudolph and was one of three mythological and love-themed works commissioned by the artist. The other two are at the Frick Collection in New York: ""The Allegory of Virtue and Performance"" and ""Allegory of the Source of Wisdom and Power"". It deals with the romantic love of the Roman goddess of love Venus and the god of war Mars, as described in the Ovid's ""Metamorphoses"". The act of"
"two powerful Venetian families. According to art historians and Joséphine Le Foll, two themes are intertwined in this painting: Bathsheba at her Bath (Veronese) Bathsheba at her Bath is a painting by Italian Renaissance painter Paolo Veronese, dated around 1575 and now in the Musée des Beaux-Arts de Lyon, France. This work is a marriage painting by Veronese ordered by a Venetian customer dealing with the theme of adultery linked to that of Justice and shows eroticism between the main two characters. The painting arrived in France in the seventeenth century in the royal collections. It was then kept at"
"Jacopo Bassano, playing the flute, Tintoretto, also playing a ""viola da braccio"", and Titian, dressed in red, playing the violone; besides them stands the poet Pietro Aretino considering a glass of the new red wine. ""The Wedding Feast at Cana"" (1563) is a painting of the Early Modern period; the religious and theological narrative of Veronese's interpretation of the water-into-wine miracle is in two parts. I. On the horizontal axis — the lower-half of the painting contains 130 human figures; the upper-half of the painting is dominated by a cloudy sky and Geæco–Roman architecture, which frames and contains the historical"
"that was widely distributed and read in Northern Italy at this time. The scene that the painting depicts is an event that is not described in the Bible or the Golden Legend. Martha and Mary Magdalene are in the Temple where Jesus is preaching. Mary Magdalene is on her knees beside Christ, turning her face towards him, while Martha is extending her hands towards Christ and Mary Magdalene. Her luxurious dress is pointing to her vanity and her sinfulness, that she will renounce now, converted by this encounter. Paolo Veronese was known for his depictions of luxurious settings and love"
"and domestic maintenance; be provided a barrel of wine; and be fed in the refectory. Aesthetically, the Benedictine contract stipulated that the painter represent “the history of the banquet of Christ’s miracle at Cana, in Galilee, creating the number of [human] figures that can be fully accommodated.” That Veronese use ""optimi colori"" (optimum colours) — specifically, the colour ultramarine, a deep-blue pigment made from lapis lazuli, a semi-precious, metamorphic rock. Assisted by his brother, Benedetto Caliari, Veronese delivered the completed painting in September 1563, in time for the ""Festa della Madonna della Salute"", in November. In the 17th century, during"
"Il Paradiso Il Paradiso is a massive oil painting on canvas that dominates the main hall of the Doge's Palace in Venice. In 1577, a fire destroyed part of the Doge's Palace, including a 14th-century fresco by Guariento depicting the ""Coronation of the Virgin"". A competition to replace the damaged painting was held. The contestants submitted highly varied sketches. Veronese was chosen, but died before the work began and Tintoretto replaced him. Tintoretto presented two sketches, both unlike the final version; this was his last major work and it was completed mostly by his workshop under the direction of his"
"Madonna of the Carnation The Madonna of the Carnation, a.k.a. Madonna with Vase or Madonna with Child, is a Renaissance oil painting by Leonardo da Vinci created around 1478-1480. It is permanently displayed at the Alte Pinakothek gallery in Munich, Germany. The central and centered motif is the young Virgin Mary seated with Baby Jesus on her lap. Depicted in precious clothes and jewellery, with her left hand Mary holds a carnation (interpreted as a healing symbol). The faces are put into light while all other objects are darker, e.g. the carnation is covered by a shadow. The child is"
"Venus and Adonis (Veronese, Madrid) Venus and Adonis is a painting by the Italian late Mannerist artist Paolo Veronese, executed in 1580, now in the Museo del Prado in Madrid. The original painting was enlarged in the upper border in the 18th century. This added section was removed in a restoration (c. 1988) so the work recovered the horizontal format. The painting's subject is taken from Ovid. It portrays the hunter Adonis sleeping in Venus' lap. In front of her is Eros, with a sighthound. Cupid is portrayed while trying to quench the dog's desire to hunt, as Venus had"
"Feast at Cana"" the most expansive picture in the paintings collection of the Musée du Louvre. At Venice, on 6 June 1562, the Black Monks of the Order of Saint Benedict (OSB) commissioned the painter Paolo Veronese to realise a monumental painting (6.77m×9.94m) to decorate the far wall of the monastery's new refectory, designed by the architect Andrea Palladio, at the Basilica of San Giorgio Maggiore, on the eponymous island. In their business contract for the commission of ""The Wedding Feast at Cana"", the Benedictine monks stipulated that Veronese be paid 324 ducats; be paid the costs of his personal"
"There are far more numerous secondary figures in the huge painting now called ""The Feast in the House of Levi"" by Veronese. This was delivered in 1573 as a ""Last Supper"" to the Dominicans of Santi Giovanni e Paolo, Venice for their refectory, but Veronese was called before the Inquisition to explain why it contained ""buffoons, drunken Germans, dwarfs and other such scurrilities"" as well as extravagant costumes and settings, in what is indeed a fantasy version of a Venetian patrician feast. Veronese was told that he must change his painting within a three-month period - in fact he simply"
"Venus and Mars (Veronese) Venus and Mars is an Italian Renaissance painting by Paolo Veronese. The painting was commissioned by Emperor Rudolph and was one of three mythological and love-themed works commissioned by the artist. The other two are at the Frick Collection in New York: ""The Allegory of Virtue and Performance"" and ""Allegory of the Source of Wisdom and Power"". It deals with the romantic love of the Roman goddess of love Venus and the god of war Mars, as described in the Ovid's ""Metamorphoses"". The act of meeting the two lovers takes place in idyllic, peaceful scenery. On"
"Lord was sitting.<br> These things having been said, the judges pronounced that the aforesaid Paolo should be obliged to correct his picture within the space of three months from the date of the reprimand, according to the judgments and decision of the Sacred Court, and altogether at the expense of the said Paolo. <br> ""Et ita decreverunt omni melius modo"". [And so they decided everything for the best!].” The Feast in the House of Levi The Feast in the House of Levi or Christ in the House of Levi is a 1573 painting by Italian painter Paolo Veronese and one"
"forecast that Adonis would die during a hunt. In the background is a lively landscape, with a green- and blueshaded sky. The Prado also has a ""Venus and Adonis"" by Titian. Venus and Adonis (Veronese, Madrid) Venus and Adonis is a painting by the Italian late Mannerist artist Paolo Veronese, executed in 1580, now in the Museo del Prado in Madrid. The original painting was enlarged in the upper border in the 18th century. This added section was removed in a restoration (c. 1988) so the work recovered the horizontal format. The painting's subject is taken from Ovid. It portrays"
"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 1565–70 is his ""Madonna and Child with St. Elizabeth, the Infant St. John the Baptist, and St. Justina ""in the Timken Museum of Art, San Diego. 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"
"entertainments. This was originally a chapel. It was rebuilt beginning in 1712 as a showcase for the painting ""Meal at the House of Simon the Pharisee"" by Paolo Veronese, which was a gift to Louis XIV from the Republic of Venice in 1664. The painting on the ceiling, ""The Apotheosis of Hercules"", by François Lemoyne, was completed in 1712, and gave the room its name. The Salon of Abundance was the antechamber to the Cabinet of Curios (now the Games Room), which displayed Louis XIV's collection of precious jewels and rare objects. Some of the objects in the collection are"
"di Santi Giovanni e Paolo, Castello, Venice. Originally titled ""The Last Supper"", the painting was to replace a Titian painting burnt in a fire; Veronese's oversized (5.55m x 12.80m) replacement depicted a Last Supper banquet scene that included German soldiers, dwarves, and animals — the human and animal exotica usual to Veronese's representational narratives. Artistically, ""The Feast in the House of Levi"" indicates Veronese's technical development in using intense and luminous colours for texture, attention to narrative coherence, the acute representation of human emotion, and the psychologically subtle interplay occurring among the characters who crowd the scene. Given the subject"
"chapel, Veronese’s painting shows donor portraits of the two men protected and presented to Christ by their name saints. The cousins are privileged to witness a miraculous apparition, a foretaste of the future: the archangel Saint Michael, who will weigh the souls of the dead at the Last Judgment. Above, we see the dead Christ, who died to redeem mankind. Veronese offered his patrons a compellingly realistic depiction of a visionary scene, and captured the hope of the faithful Christian for salvation. The angels carry three of the Instruments of the Passion. In the 1770s the church was disestablished after"
"Le Grand Canal Le Grand Canal is an oil on canvas painting by French Impressionist painter Claude Monet (1840–1926). It is one of six paintings looking down the Grand Canal towards the Salute church. This Grand Canal series is in turn part of a larger series of paintings of Venice which Monet undertook during 1908 on his only visit to the city. The artist is generally regarded by art historians as being at the peak of his powers at this period. The paintings were begun ""en plein air"" and completed in France. This painting is a classic view of the"
"Farnese and in 1624 it entered the overall Farnese collection in Parma in 1624 and later in Naples. It was briefly acquired by the Bourbons and taken to Madrid. Madonna of Divine Love The Madonna of Divine Love is a c.1516-1518 oil on wood painting by Raphael, now in the National Museum of Capodimonte in Naples. It depicts Saints Mary and Elizabeth with the baby Jesus and a genuflecting Saint John holding a cross of reeds. Jesus, assisted by Saint Elizabeth, appears to be blessing Saint John. In the shadows stands Saint Joseph. Vasari mentions a work produced by Raphael"
"fur and a wand in his hand. He then transferred it to other owners, in Brescia, and on 20 July 1814 it was used in exchange to obtain the ""Baptism of Saint Catherine"" by Paolo Veronese. The painting was then bought by Count Paolo Tosio in 1829 and along with the rest of the noble collection entered the Pinacoteca Tosio Martinengo in 1846. The painting has been restored in 1986, and the operation has freed the painted surface from previous fillings, recovering almost completely the brilliance of the original color scheme. Salomé (Moretto) Salomé is an oil painting on canvas,"
"was in turn inspired by this painting (which a restoration as confirmed to be from Verrocchio), for his ""Madonna and Child and Two Angels"" now on display in the Capodimonte Museum of Naples. The Virgin and Child with Two Angels (Andrea del Verrochio) The Virgin and Child with Two Angels (Italian, sometimes: ""Madonna del Latte"") is a painting by the Italian Renaissance painter Andrea del Verrocchio, dating from circa 1467–1469. It is in the National Gallery, London, United Kingdom. The theme derives from Filippo Lippi's works such as the ""Lippina"" (c. 1465), with Mary holding the child Jesus on her"
"descends from heaven bearing a palm branch with a motto for Fernando, who is held up by Philip: ""Majora tibi"" (may you achieve greater deeds; Fernando died as a child, in 1578). ""The Allegory of the Battle of Lepanto"" (c. 1572, oil on canvas, 169 x 137 cm, Gallerie dell'Accademia, Venice) is a painting by Paolo Veronese. The lower half of the painting shows the events of the battle, whilst at the top a female personification of Venice is presented to the Virgin Mary, with Saint Roch, Saint Peter, Saint Justina, Saint Mark and a group of angels in attendance."
"and beating her face with her fists and her breasts with stones. This portrayal of her inspired the sculptor Donatello ( 1386 – 1466) to portray her as a gaunt and beaten ascetic in his wooden sculpture ""Penitent Magdalene"" ( 1454) for the Florence Baptistery. In 1449, King René d'Anjou gave to Angers Cathedral the amphora from Cana in which Jesus changed water to wine, acquiring it from the nuns of Marseilles, who told him that Mary Magdalene had brought it with her from Judea, relating to the legend where she was the jilted bride at the wedding after which"
"and a large altar piece. The nave's sectioned ceiling contains three paintings depicting episodes from the Book of Esther which Veronese completed in 1556. The paintings behind the choir depict the life of St Sebastian to whom the church is dedicated. The organ doors and frontal contain three pieces: ""The Presentation of Jesus in the Temple""; ""The Washing of Sacrificial Animals in the Temple""; and ""The Nativity"". Veronese also painted an ""Assumption of the Virgin"" in the cupola but this was destroyed in the 18th century. The painting standing behind the high altar was the last work completed by Veronese"
"Roman Catholic Inquisition. Veronese was called to answer for irreverence and indecorum, and the serious offence of heresy was mentioned. He was asked to explain why the painting contained ""buffoons, drunken Germans, dwarfs and other such scurrilities"" as well as extravagant costumes and settings, in what is indeed a fantasy version of a Venetian patrician feast. Veronese was told that he must change his painting within a three-month period; instead, he simply changed the title to ""The Feast in the House of Levi"", still an episode from the Gospels, but less doctrinally central, and one in which the Gospels specified"