Paolo Caliari, known as Paolo Veronese, is famous for his large paintings connected with mythology and religious topics. His techniques of fresh and innovative ways of painting were noticed and encouraged by many artists and art critics. Along with Titian and Tintoretto, he was considered an excellent artist of the Renaissance period. Many European and particularly British museums endeavor to have his masterpieces. It is interesting to look through Veronese’s works and explore why Veronese’s paintings are regarded to be a great legacy, and many museums strive to have his works.
One of the reasons why Veronese’s artworks are highly valued by museums is his unique painting style. Although Veronese was assumed to be highly influenced and inspired by Titian’s and Tintoretto’s works, his painting style differs from other artists (Lazzeri & Nicoli, 2019). For example, Tintoretto liked to use different scratch techniques and add quartz sand or ground cobalt glass to his paintings. However, some of his techniques seemed to be “less brilliant” because the color choice works tended to become darker in a wrong way (Echols & Ilchman, 2018, p. 73). It is noticed that Veronese’s color choice allowed to preserve his pictures up to modern days. Understanding Veronese’s painting methods is vital for preserving the work of art; thus, they must be considered when explaining the value and importance of his works.
Another factor why museums, in particular, the British ones, were greatly interested in collecting Paolo Veronese’s paintings are the unique techniques differentiated by the usage of pastel and tender colors. In addition, Veronese’s works are characterized by “human incident” and interaction in the picture (Tuohy, 2013, p. 5). According to the National Gallery (2021), Veronese’s Happy Union, which is characterized by highlights brushed on the painting is a brilliant work that shows the artist’s mastery. Paolo Veronese was also an excellent inventor of his color techniques; he was not guided by the decision how the final work should look like (The National Gallery, 2021). Thus, he made his judgment about the picture’s appearance, adding self-generated details. Because of his progressive methods, many museums worldwide desire to collect his works.
In addition, Veronese is known for his large-scale paintings, which were often painted for noble figures of the time (Lazzeri & Nicoli, 2018). The size of his images is far more considerable than in comparison to other painter’s works focused on painting religious and mythological scenes. Moreover, Veronese’s works were highly in demand and influenced the contemporary generation of artists. For instance, he worked for secular and religious figures who bespoke his paintings (The National Gallery, 2021). His influence manifested in large altarpieces made by the academic circle of Bologna and Rome and carried to Europe (Tuohy, 2013). Paolo Veronese played a significant role in the formation of European artistic culture and turned the idea of the process of creating a painting, shaping the foundation for the development of image throughout Europe.
Apart from this, art critics magnified Veronese for an appropriate and innovative color choice, which was mainly seen in Thore-Burger, the French critic (Tuohy, 2013). He told how great Veronese mastered the delicacy of color contrasts. Johann Jakob Rabus, a Bavarian pilgrim, also highlighted the richness and excellence of Veronese’s works (Brown, 1997). To add to this, Giorgio Vasari, an Italian architect, and painter noted Veronese’s altarpieces as the best works of the abbey. Many critics reported that value of Veronese’s works is that they are very delicate, detailed, and complicated pieces with their charm and mystery, which makes them desirable works in the best museums’ collections.
Nowadays, many museums have his paintings because of the inquisition and other incidents. After his death, his sons created a union but did not manage to reach the bar set by Veronese, and it might have its impacts on pictures’ distribution over the world. The National Gallery in London currently has some works of Veronese due to collaborators and other art institutions (The National Gallery, 2021). The most large-scale exhibition of his works in Britain, “Veronese: Magnificence in Renaissance Venice,” was held there in 2014. In addition, such British museums as Dulwich Picture Gallery in London have his works as well.
Furthermore, Veronese’s influence was spread to many artists worldwide and continues to “inspire in us” (Brown, 1997, p. 51). It is essential to notice that Veronese also created murals, which enabled contemporaries to see him as a great artist who can see the life of forms in space and generate freshness and color novelty within his works. Many of his works are scattered over the globe; for instance, there are Veronese’s paintings in the French Louvre and many other museums of Europe and America (Mutual Art, n.d.). It is essential to understand that curators of various museum exhibitions claim multiple interpretations of his paintings. Due to their sizes, many details enable viewers to explore and expound stories with pictures. Therefore, Veronese’s works present a special interest for having them in museums.
Considering that religious, noble figures, and critics of his time demanded Veronese’s works and regarded them as excellent masterpieces, it is possible to connect it to museums’ desire to collect his paintings. Nowadays, many people strive to get Paolo Veronese’s reproductions to adorn their houses as it was done during the life of Veronese in monasteries, churches, and cathedrals. Many modern museums and galleries preserve Paolo Veronese’s works as some of the greatest masterpieces of his time. It is connected to the rich history of his paintings and his ability to put stories and actions inside the work. Paolo Veronese’s works still enrapture for the great sizes of images and frescos and the vastness and complexity of his works.
References
Brown, B. L. (1997). Veronese and the Church Triumphant: The altarpieces for San Benedetto Po. Artibus et Historiae, 18(35), 51. Web.
Echols, R., & Ilchman, F. (2018). Tintoretto: Artist of Renaissance Venice (Illustrated ed.). Yale University Press.
Lazzeri, D., & Nicoli, F. (2019). Mystical marriage of Saint Catherine by Paolo Veronese (1528–1588). Journal of Endocrinological Investigation, 42(3), 361–362.
Mutual Art (n.d.) Paolo Veronese. Mutual Art. Web.
The National Gallery, L. (2021). Paolo Veronese (1528 – 1588). National Gallery, London. National Gallery. Web.
Tuohy, T. (2013). Works by Paolo Veronese in British collections. The British Art Journal, 14(3), 3-8. Web.