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Because of this, many scholars assumed that Veronese painted them as a pair. In 1970, Edgar Munhall was the first scholar to suggest that they were simply made at the same time, not as pendants. [3] Work undertaken by scholars at the Metropolitan Museum of Art in the 2000s confirmed that the two were made individually. [4]
[1]: 469 The visual tension among the elements of the picture and the thematic instability among the human figures in The Wedding Feast at Cana derive from Veronese's application of technical artifice, the inclusion of sophisticated cultural codes and symbolism (social, religious, theologic), which present a biblical story relevant to the ...
Paolo Caliari (1528 – 19 April 1588), known as Paolo Veronese (/ ˌ v ɛr ə ˈ n eɪ z eɪ,-z i / VERR-ə-NAY-zay, -zee, US also /-eɪ s i /-see; Italian: [ˈpaːolo veroˈneːze,-eːse]), was an Italian Renaissance painter based in Venice, known for extremely large history paintings of religion and mythology, such as The Wedding at Cana (1563) and The Feast in the House of Levi (1573).
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In 2012-13 it was given a "full cleaning and restoration, as well as relining", the examination suggesting that Veronese's own hand was more evident in various of the main figures than had previously been thought. [15] The painting is on three pieces, each 119 cm wide, of "tabby-weave, medium weight canvas" running across the picture.
The altarpiece behind it, dated 1579, is the work of Veronese painter Felice Brusasorzi, who depicted Our Lady with the Child and Saints. [26] Among the figures Brusasorzi painted are St. Thomas Becket (titular of the church), St. Francis, St. Mark, St. John the Baptist, and St. Albert depicted in the act of holding a scale model of the church ...
After cleaning, Nicolson argued the work was a production of Veronese's studio, [6] but Bernard Berenson argued it was a late and mostly autograph work [7] and Rearick that it was a c.1581–1582 variant by Veronese's son Gabriele on the Dresden version, with the Dijon version another variant on the Dresden version by Benedetto, Gabriele's brother.
Today the company highlights those roots with a line of stylish and popular shirts called Arrow USA 1851. But as with much of the apparel industry, the production isn’t in the U.S.