The Rusty Key

A ratatouille of History, Museums' bits and Interesting Facts. A site for those who like the smell of Old Times.

The Veronese’s Magnificence is in London!

Veronese: Magnificence in Renaissance Venice at the National Gallery

Date and time

19 March – 15 June 2014

Rooms 4-8 and 11-12
Daily 10am – 6pm (last admission 5.15pm)
Fridays 10am – 9pm (last admission 8.15pm)

Booking fees and delivery charges apply: maximum 6 tickets per purchase.

Open daily 10am-6pm (last admission 5.15pm)
Late night Fridays until 9pm (last admission 8.15pm)

Advance booking recommended

Tickets: Timed-ticket entry

Gift Aid* adult £15.50
Full price £14.00
Gift Aid* National Art Pass (Art Fund) holders £8.00
National Art Pass (Art Fund) holders £7.00
Gift Aid* Senior (60+) £14.50
Senior (60+)/Concessions £13.00
Students/Job seekers/12-18s £7.00
Family Ticket: Two adults and up to four children aged 12-18 £28.00

Tuesday afternoon special offer 2.30 – 6pm (Seniors only) £7.00

Under 12s

Free with a paying adult. Ticket required.

Veronese/Strange Beauty Special offer

Buy a ticket for Veronese and see Strange Beauty: Masters of the German Renaissance (19 February – 11 May 2014) for only £5.

Disabled visitors

For disabled visitors, a complimentary accompanying carer/companion ticket is available upon request at the Ticket Desk, and all other sales points, including agents.

School, college and university groups

Educational institutions wishing to purchase exhibition tickets should emailtickets@ng-london.org.uk or call 020 7747 2888

conversion-of-mary-magdalene

The Convertion of Mary Magdalene, circa 1548, Oil on canvas. 117.5 x 163.5 cm
© The National Gallery, London

lucretia

Lucretia, circa 1580-5
Oil on canvas. 109 x 90.2 cm
© Kunsthistorisches Museum Wien Gemäldegalerie

martyrdom-of-saint-george

‘The Martyrdom of Saint George’, circa 1565
Oil on canvas. 426 x 305 cm
San Giorgio in Braida, Verona © Chiesa di San Giorgio in Braida. Ministero dei beni e delle attività culturali e del turismo. Soprintendenza per i beni storici, artistici ed etnoantropologici per le province di Verona, Rovigo e Vicenza

Paolo_Veronese_-_Adoration_of_the_Magi_-_National_Gallery

The Adoration of the Kings’, 1573
Oil on canvas. 355.6 x 320 cm
© The National Gallery, London

Paolo_Veronese_-_Mystical_Marriage_of_St_Catherine_-_WGA24821

‘The Mystic Marriage of Saint Catherine’, circa 1565-70
Oil on canvas. 373 x 241 cm
Gallerie dell’Accademia, Venice © Soprintendenza Speciale per il Patrimonio Storico Artistico ed Etnoantropologico e per il Polo Museale della Città di Venezia e dei Comuni della Gronda Lagunare, Gallerie dell’Accademia

Paolo_Caliari,_called_Veronese_-_The_Anointment_of_David_-_Google_Art_Project

‘The Anointment of David’, circa1550
Oil on canvas. 173 x 365 cm
© Kunsthistorisches Museum Wien Gemäldegalerie

Veronese-Perseus

‘Perseus and Andromeda’, 1575-80
Oil on canvas. 260 x 211 cm
Rennes, Musée des Beaux-Arts

The_Family_of_Darius_before_Alexander_by_Paolo_Veronese_1570

‘The Family of Darius before Alexander’, 1565-7
Oil on canvas. 236.2 x 474.9 cm
© The National Gallery, London

About the Artist (source: http://www.nationalgallery.org.uk/artists/paolo-veronese)

Paolo Caliari was born in Verona – hence his nickname ‘Veronese’. His father was a stonecutter and his mother was the illegitimate daughter of a nobleman called Caliari, a name the artist adopted in the 1550s. Veronese moved to Venice in the early 1550s and stayed there for the rest of his life, becoming one of the leading painters of the 16th century.

He was trained in Verona by Antonio Badile (about 1518–1560) whose daughter he married in 1566. Subsequently, it seems he served a stint in the studio of Giovanni Battista Caroto (1488–about 1563/6). The roots of his style may be located in the antique architecture and sculpture of Verona, but are ultimately his own synthesis of Central and Northern Italian influences.

In Venice, Titian’s approach to composition, narrative, and colouring was crucial for Veronese, but his work is characterised by principles of harmony and compositional cohesion that owe as much to Raphael and the Central Italian tradition as to the Venetian. The flowing, sinuous line of Parmigianino is also an important precedent.

Giulio Romano and his Venetian colleague and rival Tintoretto were also significant touchstones at various points of Veronese’s career, but his outlook is ultimately classical and harmonious in a way we tend not to associate with their work, and what has come more broadly to be understood as Mannerism.

For most of his career, Veronese worked for patrons, religious and secular, in Venice and the Veneto. Among his important works are the full-scale decoration of the Venetian church of S. Sebastiano (1555–around 1570), his ceiling and wall paintings for the library of S. Marco (1556–57) and the Ducal Palace (early 1550s and 1575–82), and his fresco decorations of the Villa Barbaro at Maser (around 1560), as well as a range of major altarpieces. From the 1560s onwards he also produced mythological pictures for an international clientele.

One of his specialities were large-scale scenes of feasts, and one of these, a Last Supper painted for a Dominican friar in 1573 (now in the Accademia in Venice), provoked the Inquisition because it included a wealth of what the inquisitors perceived to be irreverent detail. Veronese defended the painter’s right to ‘take the same licence as poets and jesters take’. He eventually changed the title to ‘Supper in the House of Levi’, rather than revise the painting itself.

Veronese ran a large workshop, assisted by his brother Benedetto and his sons Carlo and Gabriel. They carried on his studio after his death.

Worth to be read the review written by Richard Dorment for the Telegraph:

The great Venetian artist was no intellectual – but, says Richard Dorment, with technique as stupendous as his, who cares?”

And worth to be seen the Director’s view on YouTube. National Gallery Director, Nicholas Penny, introduces us to Paolo Veronese’s masterpiece ‘The Adoration of the Kings’.

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