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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).
The Feast in the House of Simon the Pharisee is an oil-on-canvas painting by Paolo Veronese, completed in 1570 for San Sebastiano, a Hieronymite monastery in Venice.He also produced a cycle of works for the monastery church (still in place), where he was later buried. [1]
The Martyrdom of Saint Justina is a c.1570–1575 oil-on-canvas painting by the Italian painter Paolo Veronese, with assistance from his younger brother.It was originally produced for Santa Giustina Basilica in Padua and now is held in the Uffizi, in Florence. [1]
Paolo Veronese, Mystic Marriage of Saint Catherine, 1571, Gallerie dell'Accademia, Venice The Mystic Marriage of Saint Catherine is a c.1575 oil-on-canvas painting by Paolo Veronese, produced as the high altarpiece for Santa Caterina church in Venice.
The Wedding at Cana (Italian: Nozze di Cana, 1562–1563), by Paolo Veronese, is a representational painting that depicts the biblical story of the Wedding at Cana, at which Jesus miraculously converts water into red wine (John 2:1–11).
The Conversion of Mary Magdalene is an oil painting, an early work by the Italian Renaissance artist based in Venice, Paolo Veronese (1528–1588). He was known for his sumptuous paintings with a dramatic and colourful style.
The Feast in the House of Simon the Pharisee (Veronese, Milan) The Feast in the House of Simon the Pharisee (Veronese, Turin) The Finding of Moses (Veronese, Washington) The Finding of Moses (Veronese, Dijon) The Finding of Moses (Veronese, Dresden) The Finding of Moses (Veronese, Lyon) The Finding of Moses (Veronese, Madrid)
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]