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Paolo Veronese

aolo Veronese was an Itaexponent of the conservative local tradition. That tradition remained fundamental to Veronese's style throughout his career, even after he moved to Venice in 1553. Early Work The painters of Verona between abtional schemes that often employ a “worm's-eye view” perspective and Michelangelesque figures in powerful foreshortened or contorted poses. The resulting amalgam was handled with increasing mastery in the Temptation of St. Anthony, done for the Cathedral of Mantua in 1552 (Musée des Beaux-Arts, Caen, France), and ceiling paintings (1553-54) for the Palazzo Ducale, Venice. Mature Style The first phase of Veronese's artistic maturity, about 1555-65, is well represented by his many canvases for the Church of San Sebastiano in Venice. Their high-keyed interweavings of brilliant, luminous hues are harmonies of contrast in the tradition of Verona rather than Venetian harmonies of tone. of the Villa Barbaro at Maser, the one such cycle by him to survive. Here he extended the actual architecture of the villa (1555-59) built by Andrea Palladio with painted illusory architecture and populated these illusions with both mythological personages and fictional equivalents of the villa's real inhabitants. Veronese's growing interest in scenographic architecture, inspired partly by the real architecture of such contemporaries as Palladioith incidental figures. It initiated a series of paintings of biblical feasts, which Veronese represented in terms of opulent Venetian patrician life; actual portraits are included.