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Feast in the House of Levi
Titian, Paolo Veronese, and Jacopo Tintore were the prime artists in the Venetian art world for the largest portion of the 16th century. The piece I am most interested in is painted by Paolo Caliari for the Dominican order of SS. Giovanni e Paolo to replace an earlier painting by Titian which was destroyed by fire in 1571. The Feast in the House of Levi is a Veronese’s version of “The Last Supper”. Veronese’s version is the last of the grandiose “Suppers” . His worldly approach to the subject was not looked upon favorably by some, which caused an inquisition to try him on charges of heresy. When questioned he claimed his right to pictorial license. Paolo refused to give in to the demands of the Inquisition to eliminate the details which offended the religious theme of the Last Supper, he changed the title of the offending picture to "Feast in the House of Levi", a subject which tolerated the presence of fools and armed men.
This magnificent work of art features three monumental arches. The architecture looks somewhat like a classical style. The center of the painting is Christ sitting at the table conversing with well dressed aristocrats of Venice. There seems be a gala or celebratory atmosphere, as the chief steward is welcoming the guests. The entry way is loaded with aristocrats as well as their colorful retainers, clowns, dogs, and dwarfs. The banquet is set on a portico framed by huge arches. The figures on each side of Christ seem to be moving in frenzy while interacting with one another. According to the Web Gallery of Art, “We seem to see here the sublime notions of form and color of Piero della Francesca. The interaction of form and color is calculated to contain the monumental figuration within the terms of a fascinating and imaginative decorative painting.”
Paolo Veronese (1568-1588) was the son of sculptor Gabriele Caliari, and learned the art of sculpting before he was an Italian Renaissance painter. Originally named Paolo Caliari, he was referred to as Veronese after his native city of Verona. One of the great masters of the Venetian school, he learned to paint in Verona from Antonio Badile.. Badile was a proponent of a local conservative tradition. Veronese remained true to this style even after his move to Venice in 1553. His first works were executed at Verona as well as at Mantua, and at Castelfranco. In Castelfranco he decorated the Villa Soranzo with large frescos as a result of this he was commissioned in 1555 to decorate the ceiling of San Sebastiano, which resulted in the same church commissioning him to paint an altarpiece and smaller works. Those historical works were brought to the attention of Titian, who offered Veronese the opportunity to paint part of the ceiling in the Library of Saint Mark, where his 3 medallions won awards.
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The painters of Verona between about 1510-1540 preferred firm, regular volumes, strong colors that function largely in terms of contrasts, and conventional figures a attributes of the High Renaissance style. The attributes of the Mannerist style include complex compositional schemes that oftern employ a “worm’s-eye view” perspective and Michelangelesque figures in powerful foreshortened or contorted poses. Veronese used a combination of these styles, as seen in the Tempatation of St. Anthony, commissioned in 1552 for the Cathedral of Mantua, and ceiling paintins in the Palazzo Ducale, in Venice from 1553 to 1554.
Veronese shows his first stage of artistic maturity about 1555-1556, which is evident with his many paintings made for The Church of San Sebastiano in Venice. During this time his interest in architecture in the scenery of his work. This architecture is inspired partially by the actual Architect, Andrea Palladio, and others by contemporary stage settings. This can be seen in Marriage at Cana 1562-1563, which is a amazing scape of artistic building with the characters being less significant. This work is the beginning of a series of biblical feasts, which Veronese represents Venetian aristocrat life.
The full maturity of Veronese’s work (circa 1565 – 1580), is shown by a more classical style. This style deals with a lower tone, such as found in The Crucifixion. In these works of art, more emotional attachment is shown toward the subjects. This attention was increased toward the end of his career.
By approximately 1583, Veronese replaced noon day with twilight and festivity with seriousness to be the normal setting in his work as seen in the Pietá.
Veronese died in Venice on April 9, 1588. His confident ability to handle complicated compositions and varied textures, all bathed in sparkling light was beneficial in providing him with never ending commissions He was an influence to Flemish Baroque master Peter Paul Rubens and 18th century Venetian painters, especially Giovanni Battista Tiepolo.
Works Cited
Beal, Graham W. J. Joslyn Art Museum. 3 May 2002. http://www.joslyn.org/permcol/euro/pages/veronese.html
CGFA – Bio: Paolo Veronese. 3 May 2002. http://sunsite.dk/cgfa/veronese/veronese_bio.htm
Croix, Horst de la., Richard G. Tansey. Art through the ages. New York : Harcourt Brace Jovanovich, Inc. 1975
Kren, Emil., Daniel Marx. Feast in the House of Levi by Veronese, Paolo. 4 May 2002. http://www.kfki.hu/~arthp/html/v/veronese/religio1/f_levi.html
Kren, Emil., Daniel Marx. Feast in the House of Levi by Veronese, Paolo. 3 May 2002. http://www.kfki.hu/~arthp/bio/v/veronese/biograph.html
Williamson, George Charles. Catholic Encyclopedia: Paolo Caliari. 3 May 2002. http://www.newadvent.org/cathen/03169b.htm
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