The illusion of re ali ty Verona, Palazzo della Gran Guardia 5 July – 5 October 2014 The art of Paolo Caliari, known as Paolo Veronese (1528-1588), returns to his native city with an exhibition dedicated to the man and his work, promoted and organised by the Verona City Council’s Department of Art Museums and Monuments, together with the University of Verona and the Historical, Artistic and Ethno-Anthropological Heritage Office for the provinces of Verona, Rovigo and Vicenza, in association with the National Gallery in London. Mounted in Verona’s monumental Palazzo della Gran Guardia, this exhibition takes place 26 years after the Veronese and Verona show held in 1988 at the Castelvecchio Museum, and is being curated by Paola Marini, director of the Castelvecchio Museum, and Bernard Aikema from the University of Verona. Veronese received his training in the Verona of Giovanni Caroto, Antonio Badile and above all Michele Sanmicheli, before moving to Venice where he worked for the central part of his career and became a leading figure in the city’s artistic scene along with Tiziano Vecellio and Jacopo Tintoretto. He also ran a busy workshop with the assistance of, among others, his brother Benedetto and his sons Carlo and Gabriele, who continued the studio’s activity after his death. The exhibition will feature over 100 works, comprising both paintings and drawings, originating from prestigious Italian and international museums such as the Gemäldegalerie in Dresden, the National Gallery of Scotland in Edinburgh, the Uffizi Gallery in Florence, Palazzo Rosso in Genoa, the British Museum and the National Gallery in London, the J. Paul Getty Museum in Los Angeles, the Museo Nacional del Prado in Madrid, the Estense Gallery in Modena, the Brera Art Gallery in Milan, the Metropolitan Museum of Art in New York, the Louvre Museum in Paris, the Vatican Museums in Rome, the Gallerie dell’Accademia in Venice, the Kunsthistorisches Museum in Vienna, and the National Gallery of Art in Washington. The monographic exhibition will be the most extensive display of the artist’s work in Italy since the outstanding show curated by Rodolfo Pallucchini in Venice in 1939. At Palazzo della Gran Guardia, Paolo Veronese will be presented through six exhibition sections: his training in Verona; 1 Press Release his fundamental relations with architecture and architects (from Michele Sanmicheli to Jacopo Sansovino and Andrea Palladio); his patrons; allegorical and mythological themes; religiousness; and lastly his collaborations and workshop, which were important from the beginning of his work. In addition to an ample selection of the artist’s masterpieces, the exhibition will feature numerous exceptional drawings of great thematic and technical variety, with the aim of outlining the role of planning and graphic reflection not only in Veronese’s creative process, but also in the productive dynamics of his atelier. With the occasion of the event, in April 2013 comprehensive restoration work began on the large canvas by the Haeredes Pauli (“Paolo’s Heirs”) titled The Feast in the House of Levi (oil on canvas, 550 x 1010 cm), belonging to the Gallerie dell’Accademia in Venice and entrusted to the Verona City Council. With the essential contribution of the Banca Popolare di Verona, the operation has carried out by the restorer Barbara Ferriani with a “work-in-progress” approach. The work ended in May 2014 and the big canvas is shown in the last section of the exhibition. 2 Press Release Title Paolo Veronese. The illusion of reality UNDER THE DISTINGUISHED PATRONAGE OF THE PRESIDENT OF THE ITALIAN REPUBLIC Curated by Paola Marini and Bernard Aikema Venue Palazzo della Gran Guardia, Piazza Bra,Verona Open from/to 5 July – 5 October 2014 Promoted and produced by Verona City Council In collaboration with University of Verona Historical, Artistic and Ethno-Anthropological Heritage Office for the provinces of Verona, Rovigo and Vicenza In association with The National Gallery, London, on completion of theiexhibition Veronese: Magnificence in Renaissance Venice (19 March – 15 June 2014) Communication Electa and catalogue organisation With the support of Veneto Regional Council,Verona Provincial Council, Verona Chamber of Commerce, Wine Top, Cariverona, Foundation, Cattolica, Banca Popolare di Verona, Save Venice, Amici dei Civici Musei d’Arte di Verona, Inner Wheel-Club Verona With the contribution of Falconieri, which enabled the transfer and handling of the works from the National Gallery, London NCTM e l’arte – a project by NCTM Studio Legale Associato, Riello Industries, Belluzzo & Partners, SDG Group, Allegrini With the backing of Stiftung Wolfgang Ratjen,Villa I Tatti With thanks to UniCredit Veronesi Holding S.p.A Technical sponsor Fedrigoni, APICE Media Partner Corriere della Sera Opening hours Monday to Thursday, Saturday and Sunday: 10:00am to 9:00pm 3 Fa c t S h e e t Friday: 10:00am to10:00pm (ticket office closes one hour before) Admission Full price 12 eurosù Reduced rate 9 euros: students aged 18, university students with undergraduate’s record book, over-65s, holders of admission tickets to the Musei Civici di Verona (Verona Civic Museums), holders of admission tickets to “Lamberti Tower + GAM”,VeronaCard holders, ICOM card holders, ATV MoVer Card holders, and daily, three-day and weekly ATV ticket holders, DB-ÖBB EuroCity rail ticket holders, and ticket holders for the exhibition circuit Scopri il Veneto di Veronese (“Discover the Veneto of Veronese”) Reduced rate 6 euros: minors (7-17 years), disabled personal care attendants Free: children up to 6 years, disabled persons, MiBAC staff, journalists with press card, licensed tour guides Booking information guided tours www.geticket.it/en_us call centre +39 848 002 008 (Monday to Saturday, from 9:00am to 6:00pm) advanced sale fee: 1.22 euros The ticket price includes an audio guide for individual visitors. For visitors with free admission the audio guide costs 5 euros. Educational services Aster srl tel. +39 045 8036353 – tel. +39 02 20404175 Monday to Friday: 9:00am-1:00pm / 2:00pm-4:00pm info@spazioaster.it Special events and initiatives www.mostraveronese.com Press office Electa Ilaria Maggi tel. +39 02 71 046 250 imaggi@mondadori.it Communication Manager Monica Brognoli tel. +39 02 71 046 456 brognoli@mondadori.it Social media facebook.com/ElectaEditore facebook.com/PaoloVeronese2014 @ElectaEditore @MCastelvecchio #mostraveronese #restaurocenalevi #aspettandoveronese 4 Fa c t S h e e t UNDER THE DISTINGUISHED PATRONAGE OF THE PRESIDENT OF THE ITALIAN REPUBLIC PROMOTED AND PRODUCED BY IN COLLABORATION WITH IN ASSOCIATION WITH ORGANISATION AND COMMUNICATION The National Gallery, London, on completion of their exhibition Veronese: Magni�icence in Renaissance Venice (19 March to 15 June 2014) WITH THE SUPPORT OF WITH THE CONTRIBUTION OF WITH THANKS TO WITH THE BACKING OF Unicredit Stiftung Wolfgang Ratjen Veronesi Holding s.p.a. TECHNICAL SPONSOR Villa I Tatti DISCOVER THE EXHIBITION WITH App Corriere Eventi 5 Colophon YOUTH Paolo Caliari was born in the San Paolo district of Verona in 1528. The son of a stone mason, for some time he signed his name as Paolospezapreda (or “stonecutter”), but it is not known for how long or to what extent he helped his father as a sculptor. He was subsequently apprenticed with Antonio Badile, a descendant of one of the oldest dynasties of painters in the city, and according to Vasari, Giovanni Caroto introduced him to the study of antiquities, in which Verona is second only to Rome.Verona’s artistic style had developed independently from that of the Republic of Venice (to which the city belonged), and it was in this autonomous atmosphere that the young Paolo received his training. However, right from his first works,Veronese stood out from the local pictorial tradition by drawing inspiration from artists who were not necessarily from Verona, for example Giulio Romano, Correggio, Parmigianino and others.Works such as The Sacrificial Death of Marcus Curtius (Vienna, Kunsthistorisches Museum) and The Temptation of Saint Anthony (Caen, Musée des Beaux-Arts) are representative of this early period. Paolo’s lively curiosity drove him to turn his hand to numerous artistic languages, which, together with his exceptional technical and compositional skills, quickly made him a sought-after artist even outside his native city. In fact, he moved to Venice permanently between 1555 and 1557. The opening section of the exhibition will therefore focus on the main aspects of Paolo Veronese’s training and early stylistic development. ARCHITECTURE Known for the brilliant colours and elegant poses of the figures in his paintings, in the collective imagination Paolo Veronese is the quintessential “decorative” painter. Other equally fundamental elements of his work are the monumental architectural settings in which the scenes – both sacred and secular – are portrayed, appearing like episodes from a theatrical performance. In Veronese’s artistic language, the relationship between the painted space and real space is instrumental, and it constantly drove the artist to pit his skills against the architectural surfaces that he was called to decorate. By inventing backgrounds for his paintings, the walls of villas or the vaults of churches, Paolo developed an illusionistic artistic idiom that lends substance to works such as Saints Geminianus and Severus (Modena, Estense Gallery) and the Annunciation (Florence, Uffizi Gallery). His attention for architecture is revealed in drawings such as the Study of Figures and Architecture (Kassel, Staatliche Kunstsammlungen). This section deals with a sphere of studies on Veronese that is considered fundamental, but is as yet scarcely explored by critics. 6 Th e e x h i b i t i o n PATRONS The sumptuous, solemn and elegant tone expressed in the paintings of Paolo Veronese was the key to his success with an incredibly varied range of clients. Ecclesiastic orders, confraternities and schools of devotion contended for his services with private patrons, for whom Caliari created cycles of frescoes, large teleri da portego (or “hallway canvases” intended for the area of the house where Venetian merchants conducted their business), and portraits. The latter category includes the Portrait of a Lady, known as the Bella Nani (Paris, Musée du Louvre), and the Portrait of a Gentleman (Los Angeles, Getty Museum).Veronese’s austere style loaded with classical references was also well-suited to the taste of Venice’s new ruling class, which entrusted him with the decoration of the most important public building in the city: the Doge’s Palace.Two fires in 1574 and 1577 had damaged the palace’s main rooms, and these interiors were redecorated by the greatest artists of the time.Veronese played a central role in this undertaking, and the exhibition reconstructs the innovative value of his contributions via some of the most important study sketches that have survived to the present day. MITH AND SENSUALITY For the private clients themselves, Paolo Veronese was a painter of canvases that portrayed mythological subjects, a genre that he rendered with extreme sensuality. Works such as The Rape of Europa(Venice, Doge’s Palace) and Mars, Venus and Cupid (Edinburgh, National Gallery of Scotland) adorned the private residences of patrons who were eager to admire the sinuous feminine forms painted by Paolo in the intimacy of their own homes. This category of work also includes the Four Allegories of Love (London, National Gallery), a series of canvases whose iconography is still much debated, and which have returned to Italy for the first time in over four centuries. But Veronese was also able to inject the same charge of sensuality into certain religious themes, such as Judith and Holofernes (Genoa, Palazzo Rosso). This section will concern Veronese’s role in the panorama of Venetian painting in the second half of the 16th century, and the mechanisms through which his images became enormously successful among contemporary collectors. RELIGION In the collective imagination,Veronese is usually seen as an artist of sumptuous, festive decorations, a feature that, for example, characterises his versions of the Last Supper.Yet a considerable part of Veronese’s work soundly resonates with the religious debate of the Counter-Reformation, making Paolo – a great iconographic innovator – one of the leading and most sensitive exponents of this new devotional spirit. This category of works includes the Rest on the Flight into Egypt(Sarasota, Ringling Museum), several versions of the Adoration of the Magi (an outstanding example being the canvas for the Church of Santa Corona in Vicenza), and altarpieces such as the Mystic 7 Th e e x h i b i t i o n Marriage of Saint Catherine for the Church of Santa Caterina de’ Sacchi in Venice (today at the Gallerie dell’Accademia). The magnificence of these paintings contrasts with works such as The Good Samaritan (Dresden, Staatliche Kunstsammlungen) and the intense Christ in the Garden of Gethsemane (Milan, Brera Art Gallery), in which the shades of colour become darker and the landscape takes on a new role.This section of the exhibition intends to go beyond the brightness of Veronese’s sacred paintings, aiming to explore the subject-matter of a vast production of religious works that catered to a specific demand and devotional inclination in the society of his time. THE WORKSHOP Like every great Renaissance artist, Paolo Veronese did not disregard the support of an active workshop that assisted and, when necessary, replaced him. Indeed, he gave work to many errand boys, assistants and labourers. The number and type of such helpers varied according to the quantity and kind of commissions Veronese received, hence it is difficult to establish precisely how many were employed in his workshop. Nonetheless, among the most important of these collaborators, it is worth mentioning his brother Benedetto (1538-1598) and his sons Gabriele (1568-1631) and Carlo, or Carletto (1570-1596). Part of the more recent acquisitions concerning the organisation of Paolo Caliari’s atelier will be represented in the exhibition through paintings and drawings by some of the foremost members of the workshop which can be compared to works by the master. With these concrete examples, this section aims to reconstruct certain aspects of the internal organisation of Paolo Veronese’s artistic studio. 8 Th e e x h i b i t i o n Paolo Veronese was born in 1528 inVerona, in the district of San Paolo, to Gabriele spezapreda (or “stonecutter”) and Caterina.After an initial apprenticeship as a stone mason serving under his father, Paolo was apprenticed with Antonio III Badile to learn the secrets of painting. His first independent commissions date from around 1546-1548, and at this stage Veronese was also willing to join the decorators working on the constructions of Michele Sanmicheli. Paolo may have encountered his first Venetian clients thanks to the visibility gained from his activity as a fresco-painter on Sanmicheli’s building sites, which were often located outside Verona, as with the so-called Villa Soranza (Castelfranco Veneto, 1551). The altarpieces created for the Church of San Francesco della Vigna in Venice and Mantua Cathedral date from 1551 and 1552 respectively. From this moment onwards the number of opportunities to work outside his native city greatly increased, paving the way for his next big step, which occurred between 1554 and 1555 when he moved to the Venetian lagoon to set up his house and workshop. In this period he obtained his first commissions for the Doge’s Palace, for the sacristy and nave ceiling of the Church of San Sebastiano, and for the Marciana Library. However, the definitive consecration came in the form of a large decorative venture. Indeed, between 1559 and 1560 Veronese decorated the villa of the Barbaro brothers in Maser (Treviso), where the imaginary spaces painted by the artist dialogue with the real spaces designed by Andrea Palladio, in an illusionistic crescendo that brought fame to Paolo Veronese. The shrewd and even-tempered artist, however, did not get carried away with his success.With the growing number of both religious and private commissions during the early 1560s, he was able to invest his earnings in his first real-estate acquisitions. Furthermore, aided by his brother Benedetto (1535/38-1598), he began to pay more attention to the organisation of his workshop, which possessed a harmonious unity of purpose with its master in carrying out significant decorative undertakings. The painter’s credibility grew hand in hand with his fame, also among the official bodies of the Republic of Venice, which not only commissioned works from him but also requested his professional consultancy. For example, in 1563 he was called to settle a dispute between the Signoria and the Zuccato mosaicists concerning certain works in Saint Mark’s Basilica. Temporarily back in Verona – a city with which he always remained in contact – on 17 April 1566 Paolo married the 24-year-old Elena Badile, the daughter of his former master and by whom he had four children. Gabriele and Carletto (the first and second born) worked with him in the workshop from circa 1580 onwards. The 1570s were busy years for Veronese. From the start of the decade, he continued to be in great demand among major religious orders for his Feast paintings. Between 1570 and 1571 he execut- 9 B i o g ra p hy ed the Feast in the House of Simon for the monastery of Santa Maria dei Servi in Venice (today at the Musée National du Château de Versailles); in 1572 he painted the Feast of Saint Gregory the Great for the Church of Mount Berico in Vicenza (in situ); between 1570 and 1573 he painted the lost Feast in the House of Simon for the Convent of Mary Magdalene in Padua; and in 1573 the Feast in the House of Levi for the Dominican Basilica of Santi Giovanni e Paolo in Venice (now at the Gallerie dell’Accademia in Venice). Again in 1573, Veronese was summoned before an Inquisition hearing that ordered him to carry out modifications on the latter canvas, a verdict which he effectively appeased by merely changing the painting’s title. This brush with the Inquisition did nothing to diminish his fame or the esteem that he enjoyed among the highest circles of political power in Venice. In fact, the state entrusted him with a large part of the new decorations for the Doge’s Palace, some of whose main rooms had been destroyed by fires in 1574 and 1577. A sizeable portion of the ceilings and walls of the Sala del Collegio (“Hall of the College”) and the Sala del Maggior Consiglio (“Hall of the Great Council”) were decorated by Veronese. At the same time he also continued to receive commissions outside the city, and in the 1580s he executed works for churches and palaces in Padua, Udine and Vicenza. In the 1580s, Veronese’s sons Gabriele (1568-1631) and Carlo, known as Carletto (1570-1596), also joined their father’s workshop. In doing so they marked the transition to a family-run business, firmly placing Veronese’s enterprise within the consolidated Venetian tradition of trades and crafts that are handed down from father to son. During this decade, Veronese and his assistants were principally occupied with a large number of religious commissions, despite winning the competition to paint the large Paradise canvas for the Doge’s Palace in 1582 – an order which, however, they were never able to fulfil. The religious works mainly consisted in altarpieces, but also private devotional paintings. Indeed, over the years Veronese had developed an artistic language that suited the renewed spirituality of the Counter-Reformation, with the result that his works were among the most popular of the time. It perhaps comes as no surprise that Veronese’s last precisely datable painting is Saint Pantaleon Healing a Child, executed in 1587 for the church in Venice dedicated to this saint. Paolo Veronese died on the night of 19 April 1588, at his home in Venice in the parish of San Samuele. He had been suffering from a lung infection contracted a few days earlier while visiting his estate in Sant’Angelo (Treviso) for the Easter festival. His family had him buried at the Church of San Sebastiano, in what can rightly be considered a temple to Veronese. Subsequently, for several years Veronese’s brother Benedetto and his sons Gabriele and Carletto continued the workshop’s activity and the memory of its master, sometimes eloquently signing their works with the name “Haeredes Pauli Caliari Veronensis” 10 B i o g ra p hy ✤ opere presenti alla mostra di Londra ITALIA Bergamo, Accademia Carrara 1. Carletto Caliari, Studio per uomo appoggiato al gomito destro; 296 X 201 mm Castelfranco Veneto (TV), Duomo di S. Maria Assunta e S. Liberale 2. Paolo Veronese (?), La Prudenza(?); 200 X 100 cm Firenze, Gabinetto Disegni e Stampe degli Uffizi 3. Paolo Veronese, Studio per testa di donna, inv. S.7431; 437 X 231 mm 4. PaoloVeronese, Due profeti (recto), Studio per figure sedute e Vergine col Bambino (verso), inv. 12894F; 198 X 259 mm 5. Paolo Veronese, Studio per san Giorgio che uccide il drago, inv. 19845F; 410 X 505 mm Firenze, Galleria degli Uffizi 6. Paolo Veronese, Annunciazione, Inv. 1890 n. 899; 143 X 291 cm ✤ 7. Paolo Veronese, Madonna col Bambino, santi e donatori (bozzetto per la Pala Bevilacqua); 50 X 36 cm Firenze, Palazzo Pitti, Galleria Palatina 8. Paolo Veronese, Battesimo di Cristo, Inventario Palatina, n. 186 (1912); 195 X 131,5 cm Genova, Musei di Strada Nuova, Palazzo Rosso ✤ 9. Paolo Veronese, Giuditta e Oloferne, inv. 95; 195 X 176 cm Milano, Pinacoteca di Brera ✤ 10. Paolo Veronese, Cristo nell’orto nel Getsemani, inv. Gen.115; 80 X 108 cm Modena, Galleria Estense ✤ 11. Paolo Veronese, I santi Geminiano e Severo, inv. 407; 343 X 240 cm ✤ 12. Paolo Veronese, San Menna; 246 X 120,5 cm ✤ 13. Paolo Veronese, San Giovanni Battista; 246 X 119,5 cm Roma, Galleria Borghese ✤ 14. Paolo Veronese, La predica del Battista, inv. 137; 208 X 140 cm 11 Wo r k l i s t Roma, Galleria Colonna ✤ 15. Paolo Veronese, Ritratto di gentiluomo, 124 X 94,8 cm Roma, Pinacoteca Capitolina 16. Paolo Veronese, Allegoria della Pace; 105 X 64 cm 17. Paolo Veronese, Allegoria del Buon Governo; 105 X 64 cm Roma, Pinacoteca Vaticana ✤ 18. Paolo Veronese, La visione di sant’Elena, inv. 40352; 166 X 134 cm 19. Paolo Veronese, Allegoria delle Arti Liberali, inv. 40346; diametro 105 cm Torino, Galleria Sabauda 20. Paolo Veronese, La cena in casa di Simone, inv. 580; 315 X 451 cm ✤ 21. Paolo Veronese, Marte e Venere, inv. 683; 47 X 47 cm Venezia, Gallerie dell’Accademia ✤ 22. Paolo Veronese, Madonna col Bambino in trono e i santi detta Pala Bonaldi, inv. 345; 341,5 X 193 cm ✤ 23. Paolo Veronese, Matrimonio mistico di santa Caterina, inv. 1170; 337 X 241 cm 24. Paolo Veronese, Allegoria della battaglia di Lepanto, inv. 136; 169 X 137 cm 25. Bottega di Paolo Veronese, Incoronazione della Vergine (Pala di Ognissanti); 396 X 219cm 26. Haeredes Pauli Veronensis, Adorazione dei pastori; 235 X 137 cm 27. Haeredes Pauli Veronensis, Cena in casa di Levi, in deposito presso il Comune di Verona; 550 X 1010 cm Venezia, Galleria G. Franchetti alla Ca’ d’Oro 28. Alessandro Vittoria, Il parroco Benedetto Manzini; 75 X 58 X 37 cm Venezia, Palazzo Ducale 29. Paolo Veronese, Ratto di Europa; 235 X 296 cm Venezia, San Pantaleon ✤ 30. Paolo Veronese, San Pantaleone risana un fanciullo; 277 X 160 cm Venezia, San Sebastiano 31. Paolo Veronese, Allegoria della Carità; diametro 95 cm 32. Paolo Veronese, Allegoria della Fede; diametro 95 cm 33. Paolo Veronese, Allegoria della Speranza; diametro 95 cm 34. Paolo Veronese, Allegoria della Giustizia; diametro 95 cm Verona, Museo di Castelvecchio 35. Paolo Veronese, Madonna col Bambino e santi, detta Pala Bevilacqua; 233 X 172 cm 36. Paolo Veronese, Deposizione, 76 X 119 cm 37. Bottega di Paolo Veronese, Battesimo di Cristo; 270 X 165 cm Vicenza, Santa Corona ✤ 38. Paolo Veronese, Adorazione dei Magi; 375 X 228 cm 12 Wo r k l i s t AUSTRIA Vienna, Albertina 39. Paolo Veronese, Allegoria della Vittoria, n. 40; 386 X 276 mm Vienna, Kunsthistorisches Museum 40. Paolo Veronese, Marco Curzio, Inv.-Nr. GG_6744; diametro 221,5 cm ✤ 41. Paolo Veronese, Consacrazione di Davide, Inv.-Nr. GG_40; 174 X 365 cm FRANCIA Caen, Musée des Beaux-Arts ✤ 42. Paolo Veronese, Tentazione di sant’Antonio, inv. 6; 198,2 X 149,5 cm Lille, Musée des Beaux-Arts 43. Paolo Veronese, Studio per il paradiso; 87 X 234 cm Paris, Ecole des Beaux-Arts 44. Paolo Veronese, Studi di costume per l’Edipo Re di Sofocle, inv. 415; 26,3 X 20,6 mm Paris, Musée du Louvre Departement des peintures: ✤ 45. Paolo Veronese, Resurrezione della figlia di Jairo, inv. 141; 42 X 37 cm ✤ 46. Paolo Veronese, Ritratto di donna (Bella Nani), inv. RF 2111; 119 X 103 cm 47. Paolo Veronese, Il Calvario, inv. 145; 102 X 102 cm Paris, Musée du Louvre Departement des arts graphiques: 48. Paolo Veronese, Studio per il Trionfo di Mardocheo e l’incoronazione di Ester, RF 38926; 150 X 177 mm 49. Paolo Veronese, La Vergine e il Bambino con sei angeli musicanti, INV 4666; 378 X 290 mm 50. Paolo Veronese, S. Antonio tormentato dai demoni, INV 4842; 414 X 356 mm 51. Paolo Veronese, Testa di giovane nero, INV 4679; 278 X 205 mm 52. Paolo Veronese, Studio per l’Adorazione dei Magi, RF 38927; 295 X 380 mm 53. Paolo Veronese, Studio per un miracolo di San Pantalon RF 38928; 214 X 245 mm 54. Carletto Caliari, Studio per Adorazione dei pastori; 306 X 176 mm 55. Benedetto Caliari, Studio per la Nascita della Vergine; 111 X 137 mm 56. Benedetto Caliari, Studio per testa di donna; 334 X 245 mm 57. Gabriele Caliari, Studio per la Fede; 110 X 88 mm Rennes, Musée des Beaux-Arts ✤ 58. Paolo Veronese, Perseo e Andromeda, inv. 1801.1.1; 260 X 211 cm GERMANIA Amburgo, Hamburger Kunsthalle 59. Paolo Veronese, Studi per la Fama, la Pace e una cornice; 256 X 310 mm 13 Wo r k l i s t Berlino, Staatliche Museen, Gemäldegalerie 60. Paolo Veronese, Cristo morto sorretto da due angeli, Kat. Nr. 295; 110 X 94 cm Berlino, Staatliche Museen, Kupferstichkabinett 61. Paolo Veronese, Studio per La pittura Sesta e Riposo nella fuga in Egitto, KdZ26362; 194 X 203 mm 62. Paolo Veronese, Studio per armatura, KdZ2034; 380 X 254 mm 63. Paolo Veronese, Studio per le Nozze di Cana, KdZ502; 206 X 174 mm 64. Paolo Veronese, Studio per un lamento sul Cristo morto e Cena in Emmaus, KdZ26358; 155 X 205 mm 65. Paolo Veronese, Studio per cavaliere, un prigioniero, un cane e un tamburo, KdZ22070; 166 X 103 mm 66. Paolo Veronese, Studi per Incoronazione della Vergine, KdZ26356; 153 X 212 mm 67. Paolo Veronese, Studi per Santi per Incoronazione della Vergine, KdZ26360; 304 X 212 mm 68. Paolo Veronese, Studio per l’Agonia nell’orto, KdZ18457; 131 X 169 mm 69. Paolo Veronese(?), Studio per Adorazione dei pastori, KdZ26359; 136 X 213 mm 70. Paolo Veronese, Studi per il Trionfo di Mordecai, KdZ26357; 129 X 112 mm 71. Paolo Veronese, Studio per una risurrezione di Lazzaro, KdZ26361; 215 X 141 mm 72. Paolo Veronese, Studio per una lavanda dei piedi, KdZ26385; 153 X 214 mm Dresda, Gemäldegalerie ✤ 73. Paolo Veronese, Resurrezione di Cristo, Gal.-Nr. 235; 136 X 104 cm 74. Paolo Veronese, Il buon samaritano, Gal.-Nr. 230; 167,5 X 253 cm Kassel, Staatliche Kunstsammlungen 75. Paolo Veronese, Studio per Venezia in trono, n. 83; 24,8 X 20,6 cm 76. Paolo Veronese, Studio di figure e architetture, n. 91; 32,5 X 22,5 cm Monaco, Staatliche Graphische Sammlung 77. Paolo Veronese, Studi per il Papa Alessandro III accolto dal Doge Sebastiano Ziani, e Papa Alessandro III e Sebastiano Ziani inviano messaggeri a Federico Barbarossa, Inv. 1951:63; 301 X 209 mm Stoccarda, Koenig Fachsenfeld 78. Paolo Veronese, Studio per il Ratto d’Europa, la Madonna del Rosario e la Pietà; 296 X 274 mm GRAN BRETAGNA Edinburgh, National Gallery of Scotland ✤ 79. Paolo Veronese, Venere, Marte e Cupido, inv. 339; 165,2 X126,5 cm Leeds, Harewood House ✤ 80. Paolo Veronese, Ritratto di uomo, 180 X 110 cm London, British Museum 81. Paolo Veronese, Riposo durante la fuga in Egitto, inv. 1854-06-28-4; 316 X 239 mm 82. Paolo Veronese, Studio per Venere e Cupido, inv. 1951-11-10-79; 171 X 127 mm 83. Paolo Veronese, Studio per la Moderazione, inv. 1969-4-12-4; 207 X 227 mm 14 Wo r k l i s t ✤ ✤ ✤ ✤ ✤ London, National Gallery 84. Paolo Veronese, Cristo e l’adultera, NG931; 117,5 X 163,5 cm 85. Paolo Veronese, Allegorie d’amore. L’unione felice, NG1326; 187,4 X 186,7 cm 86. Paolo Veronese, Allegorie d’amore. L’infedeltà, NG1318; 189,9 X 189,9 cm 87. Paolo Veronese, Allegorie d’amore. Il disinganno, NG1324; 186,6 X 188,5 cm 88. Paolo Veronese, Allegorie d’amore. Il rispetto, NG1325; 186,1 X 194,3 cm London, collezione privata 89. Carletto Caliari, Maddalena penitente, 126,4 X 97,7 cm London, collezione privata 90. Paolo Veronese, Divinità naturali in un paesaggio; 421 X 564 mm Oxford, Christ Church 91. Paolo Veronese, Studio per un’Incoronazione della Vergine, n. 117; 305 X 210 mm Richmond-upon-Thames 92. Scuola Nord Italiana, Giovane pittore di 18 anni, National Trust Inv. N. 1139909; 20,9 X 27,5 cm NEDERLAND Rotterdam, Museum Boymans-Van Beuningen 93. Paolo Veronese, Studio per il Matrimonio mistico di Santa Caterina e la Santa Famiglia con sant’Anna, Giovanni Battista e Caterina, n. 56; 306 X 199 mm 94. Benedetto Caliari, Copia del Riposo durante la fuga in Egitto; 309 X 211 mm 95. Benedetto Caliari, Studio per San Sebastiano (recto) e studio per Cristo (verso); 240 X 197 mm REPUBBLICA CECA Praga, Museo del Castello 96. Paolo Veronese, Ritratto di Jacob König; 83 X 73 cm Jaromerice, The Jaroměřice nad Rokytnou State château 97. Paolo Veronese, Ritratto di Collaltino Collalto; 134 X 110 cm SPAGNA Madrid, Museo del Prado ✤ 98. Paolo Veronese, Il ritrovamento di Mosè, inv. 502; 57 X 43 cm ✤ 99. Paolo Veronese, Cristo e il centurione, inv. 492; 192 X 297 cm 15 Wo r k l i s t STATI UNITI Los Angeles, J. Paul Getty Museum ✤ 100. Paolo Veronese, Ritratto di uomo, inv. A71-P-17; 192, 1 X 134 cm 101. Paolo Veronese, Studio Cristo tra i dottori, inv. 83.GA.266; 78 X 170 mm New York, Metropolitan Museum 102. Paolo Veronese, Alessandro Vittoria, Acc. N. 46.31; 110, 5 X 81,9 cm 103. Paolo Veronese, Studi per le quattro Allegorie dell’Amore; 22,2 X 32,0 cm 104. Paolo Veronese, Allegoria della Redenzione del Mondo; 42 X 61,3 cm New York, Pierpont Morgan Library 105. Paolo Veronese, Studio per il ritrovamento di Mosé; 171 X 186 mm New York, collezione privata 106. Paolo Veronese, Studio per Allegoria della Lega Santa; 216 X 311 mm Sarasota, Ringling Museum ✤ 107. Paolo Veronese, Riposo durante la fuga in Egitto, inv. 82; 236,2 X 161,3 cm Washington, National Gallery of Art 108. Paolo Veronese, Martirio e ultima comunione di santa Lucia, inv. 1984.28.1; 140 X 173 cm 16 Wo r k l i s t 17 Veronese i t i n e ra r i e s i n Ve n e t o PAOLO VERONESE L’illusione della realtà a cura di Paola Marini e Bernard Aikema PAGINE: 400 ILLUSTRAZIONI: 198 formato: 24x24 PREZZO: 35 euro 30 euro al bookshop della mostra IN LIBRERIA: luglio 2014 SOMMARIO Introduzione Paola Marini, Bernard Aikema 1) La giovinezza L’esordio Bernard Aikema Opere Per Paolo Spezapreda Stefano Lodi, Ettore Napione I rapporti di Paolo con l’ambiente artistico veronese negli anni della Soranza Diana Gisolfi 2) Architettura e decorazione Un “molto grande teatro”: Veronese e l’architettura Paola Marini Opere Opere Regesto Thomas Dalla Costa 4) Mito e sensualità Bibliografia Le seduzioni di Paolo Enrico Maria Dal Pozzolo Indice dei nomi a cura di Thomas Dalla Costa Opere Il fondo Pietro Caliari alla Biblioteca Civica di Verona Agostino Contò 5) La religiosità Pictor religiosus Bernard Aikema Opere 6) Il disegno e l’officina Una penna particolarmente felice Bernard Aikema, Thomas Dalla Costa Paolo Veronese e la bottega Le botteghe dei Caliari Thomas Dalla Costa 3) La committenza Opere La “presenza” dei committenti nei dipinti di Paolo Veronese Stefania Mason 7) Itinerario a Verona Opere non in mostra Veronese pittore di Stato Giorgio Tagliaferro 18 catalogue l’allestimento della mostra “PAolo Veronese. L’illusione della realtà” Alba Di Lieto, Nicola Brunelli
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