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The Adoration of the Magi
Oil on canvas. S XVI - XVII century
Farinati, Paolo (?); Veronese, Paolo (Paolo Cagliari) (Copy After)
The Adoration of the Magi
Oil on canvas. S XVI - XVII century
Farinati, Paolo (?); Veronese, Paolo (Paolo Cagliari) (Copy After)

Christ among the Doctors in the Temple
Oil on canvas. Ca. 1560
Veronese, Paolo (Paolo Cagliari)
Christ among the Doctors in the Temple
Oil on canvas. Ca. 1560
Veronese, Paolo (Paolo Cagliari)

This work illustrates the final passage of Christ´s childhood (Luke 2, 41-50) when, at the age of 12, he was taken to Jerusalem by his parents to celebrate Passover. Mary and Joseph lost their son, and later found him in the Temple, arguing with the doctors. Christ´s theological superiority is emphasized by his placement towards the top of the composition´s axis. The doctors look on as he enumerat

Young man from the Sanuto family chooses Virtue over Vice
Oil on canvas. Ca. 1560
Veronese, Paolo (Paolo Cagliari)
Young man from the Sanuto family chooses Virtue over Vice
Oil on canvas. Ca. 1560
Veronese, Paolo (Paolo Cagliari)

The moralizing intention of this work shows the two paths that will tempt men over the course of their lives: Virtue and Vice. Virtue, wearing the crown of laurels that has been her symbol since Antiquity, and hiding her anatomy under ample vestments, takes the youth by the hand. Vice, in the form of a blond Venetian courtesan with a generous décolleté and numerous jewels, reaches ou

The Wedding at Cana
Oil on canvas. Ca. 1562
Veronese, Paolo (Paolo Cagliari) (Workshop Of)
The Wedding at Cana
Oil on canvas. Ca. 1562
Veronese, Paolo (Paolo Cagliari) (Workshop Of)

The illustration of this Gospel passage (John 2:1–12) belongs to the sub-genre of ‘suppers’. These paintings that recreated biblical episodes around a table (Cana, Emmaus, etc.) were very popular in Venice between 1560 and 1575. Veronese’s contribution was to represent the suppers as grandiose theatrical shows set in vast architectural settings. These shows portrayed a multitude of figures in cont

Christ and the Centurion
Oil on canvas. Ca. 1571
Veronese, Paolo (Paolo Cagliari)
Christ and the Centurion
Oil on canvas. Ca. 1571
Veronese, Paolo (Paolo Cagliari)

With a halo of sainthood over his head, Jesus extends his arm to the centurion who, having converted to the Christian faith, kneels at his feet, as told in the New Testament (Matthew 8, 5-13). The scene takes place in front of an architectural backdrop inspired by the work of the architect Andrea Palladio (1508-1580). The bright colors worn by the figures are brought out by the white of the strong

Venus and Adonis
Oil on canvas. Ca. 1580
Veronese, Paolo (Paolo Cagliari)
Venus and Adonis
Oil on canvas. Ca. 1580
Veronese, Paolo (Paolo Cagliari)

Like its pair, Cephalus and Procris (Strasbourg Museum, inv. 634, oil on canvas, 162 x 185 cm), this canvas illustrates a passage from the Metamorphoses by the Roman poet Ovid. Both stories involve love cut short by death, in this case that of Adonis. Veronese conveys the grief of Venus, goddess of love, as she presages the death of her lover at the hunt. Painted after a period in Rome, Veronese u

Susannah and the Elders
Oil on canvas. Ca. 1580
Veronese, Paolo (Paolo Cagliari)
Susannah and the Elders
Oil on canvas. Ca. 1580
Veronese, Paolo (Paolo Cagliari)

Venetian sixteenth-century painters frequently made use of this story as it allowed them to depict their client´s preferred subject-the female nude- using the vehicle of a biblical episode. The confrontation between Susannah and the Elders is the most psychologically interesting moment in the narrative (Daniel 13, 15-27). Susannah´s pale, nude flesh conveys a strong sensation of fragility, emphasi

The Martyrdom of Saint Menas
Oil on canvas. Ca. 1580
Veronese, Paolo (Paolo Cagliari)
The Martyrdom of Saint Menas
Oil on canvas. Ca. 1580
Veronese, Paolo (Paolo Cagliari)

Saint Mena extends his arms and raises his gaze to Heaven, refusing to worship the graven idol presented to him at the left of the composition. As a result, he was martyred and decapitated. His suffering occurred in the year 296, under the rule of Diocletian. It is indicated here by the sword held by the person who has seized the saint, and by the pliers in the basket, which were used to pull out

The Finding of Moses
Oil on canvas. Ca. 1580
Veronese, Paolo (Paolo Cagliari)
The Finding of Moses
Oil on canvas. Ca. 1580
Veronese, Paolo (Paolo Cagliari)

This scene from the Old Testament (Exodus II, 5-6) depicts the moment when the Pharaoh´s daughter and her ladies-in-waiting remove from the Nile River the basket in which baby Moses was placed by his Hebrew mother in order to save him from the slaughter of boy children ordered by that ruler. Outside the biblical text, Veronese has included a dwarf in the scene. Dwarves were often present at sixtee

The homeless Cain and his Family
Oil on canvas. Ca. 1585
Veronese, Paolo (Paolo Cagliari)
The homeless Cain and his Family
Oil on canvas. Ca. 1585
Veronese, Paolo (Paolo Cagliari)

Depicting a passage from Genesis rarely illustrated in art, this canvas shows how God punished Cain for killing his brother Abel by condemning him and his family to wander through a hostile wilderness (Genesis 4, 11-16). Veronese situates the action in a desolate setting with only a tree. Wearing a lion skin and holding a club, Cain watches as his wife breast-feeds their son, sheltered by a boulde

Saint Jerome meditating
Oil on canvas. Ca. 1585
Veronese, Paolo (Paolo Cagliari) (And Workshop)
Saint Jerome meditating
Oil on canvas. Ca. 1585
Veronese, Paolo (Paolo Cagliari) (And Workshop)

This is a late work by Veronese, characterised by its marked formal and chromatic austerity. It also reveals the profound spiritual and emotional intensity of the artist’s late religious compositions. They are devoid of any anecdotal detail that might distract the viewer, who is encouraged to imitate the hermit saint in his meditation on the death of Christ.

Penitent Magdalen
Oil on canvas. 1583
Veronese, Paolo (Paolo Cagliari)
Penitent Magdalen
Oil on canvas. 1583
Veronese, Paolo (Paolo Cagliari)

Paolo Veronese`s Penitent Magdalene, 1583, reflects the change occurring in Venetian religious painting around 1580. On one hand, the new order of priorities imposed by the Council of Trent (1545-63) emphasised subjects such as the Eucharist, penitence and the martyrdom of the saints. On the other, the Inquisition began to zealously protect decorum in the treatment of sacred subjects. Veronese had

The Sacrifice of Abraham
Oil on canvas. 1585 - 1588
Veronese, Paolo (Paolo Cagliari)
The Sacrifice of Abraham
Oil on canvas. 1585 - 1588
Veronese, Paolo (Paolo Cagliari)

An image of the Old Testament scene (Genesis 22, 1-19) in which, on the orders of God, Abraham prepares to sacrifice his son, Isaac. Seeing that Abraham follows his orders with blind faith, God accepts this as proof of his faithfulness and sends an angel to save Isaac at the last moment, ordering that a lamb be sacrificed in his place. This passage from the Bible is understood as a foreshadowing o

Birth of Saint John the Baptist
Pencil, Pencil ground, Grey-brown ink, Wash on grey paper. Second half of the XVI century
Veronese, Paolo (Paolo Cagliari) (Attributed To)
Birth of Saint John the Baptist
Pencil, Pencil ground, Grey-brown ink, Wash on grey paper. Second half of the XVI century
Veronese, Paolo (Paolo Cagliari) (Attributed To)

The Evangelist Saint Luke seated in a landscape and other studies
Pencil, Pencil ground, Grey-brown ink, Touches of chalk / pencil, White lead, Wash on dark yellow paper. 1580 - 1581
Veronese, Paolo (Paolo Cagliari)
The Evangelist Saint Luke seated in a landscape and other studies
Pencil, Pencil ground, Grey-brown ink, Touches of chalk / pencil, White lead, Wash on dark yellow paper. 1580 - 1581
Veronese, Paolo (Paolo Cagliari)

The pose of the Evangelist, seated on a mound in a landscape, with one leg astride the back of the ox, his attribute, recalls the painted figure of St. Luke in one of four irregularly shaped compartments of Evangelists at the corners of the ceiling of the destroyed church of S. Nicolo della Lattuga ai Frari, decorated by Paolo Veronese and his school in 1580-1581, and now in the Basilica of SS. Gi

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