This article provides information about the early provenance of the Paolo Veronese painting entitled Saint Catherine of Alexandria in Prison in The Metropolitan Museum of Art in New York. The ...painting can most likely be traced back to sixteenth- and seventeenth-century Augsburg. Descriptions that match the Veronese painting are found in the inventories of two very wealthy Augsburg merchants: one is in the post mortem inventory of Octavian Secundus Fugger (ca. 1600/1601), the other in a list of works of art from the collection of Hans Steininger (ca. 1641/42). Octavian Secundus Fugger only occasionally bought paintings from Venice, never seeking to amass a systematic collection of art. The deeply religious Catholic merchant, who was a strong supporter of the Jesuits, hung his picture of Saint Catherine, along with other religious paintings, in the antechapel of his house, and it remained at this location until the early 17th century. The painting's later owner, however, the Lutheran textile merchant Hans Steininger, was a highly educated art collector who created one of the most illustrious collections in Augsburg. In his Kunstkammer, Veronese's painting was displayed in the company of mythological female figures, nymphs, and Venus, accompanied by a whole series of paintings by renowned artists such as Hans von Aachen, Christoph Amberger, Paris Bordone, Hans Burgkmair, Joseph Heintz and Titian. Steininger's collection was dispersed after his death, but many of the paintings he owned can still be identified. Veronese's Saint Catherine of Alexandria may be one of them.
Aceto discusses a double-sided drawing in the Ashmolcan Museum in Oxford, England, acquired as by Paolo Veronese in 1935 by the museum's former Keeper of Western Art, K. T. Parker. It shows Studies ...for a Holy Family on the recto and swift sketches, broadly described as Studies for the Beheading of a Saint, on the verso. While rejecting the attribution to the Venetian painter, Parker felt that the sheet could certainly be by a member of Veronese's school, perhaps by Antonio Vassilacchi, called Aliense, or Andrea Michieli, called Vicentino. He was confident in stating that the same artist of the Ashmolcan sheet must have executed a composition in pen in the collection of Robert Landolt, Zurich, Battle between the Venetians and the Turks, now attributed to Palma il Giovane.
Rinaldi and Salomon examine Paolo Veronese's portrait drawing of Damiano Grana. Grana was prior at Monte Berico between 1571 and 1572, so he is the most likely patron for Veronese's Supper and the ...ideal candidate for a portrait by the artist. The biography of Grana is still somewhat fragmentary, but a general sketch of his life can be provided. He was about a decade older than the painter and was probably born in Verona around 1520. He is documented throughout his life in his birthplace, but also in Vicenza and in Rome, and it seems that he traveled often between the three locations. This article intends definitively to shift the authorship of the Toronto sheet from the corpus of drawings by Jacopo Bassano and his workshop to the hand of Veronese and to identify the sitter as a recognized patron of the artist.
Although the Veronese revival is the formative phenomenon of Venetian painting in the eighteenth century, the causes for this circumstance are not entirely clear. The love of splendor is considered ...to be a significant motif that can be easily misinterpreted as shallow. The fundamental element of the Veronese revival is
, which also recognizes splendor, luxury, and imagination as aesthetic qualities in the art and literature of the seventeenth and eighteenth centuries while presenting them in a complex reciprocal relationship whose aim is
, the amazement of the viewer.
plays the central role in Algarotti’s, Muratori’s, Vico’s, Maffei’s, and Conti’s theories as well as in Sebastiano Ricci’s and Giambattista Tiepolo’s artistic practices. This quality is as important for the patron as it is for the artist whose work is supposed to stimulate the
of the audience.
Paolo Veronese's (1528-1588) portrait of a sculptor entered The Metropolitan Museum of Art's collection in 1946, and was presented in the Museum's Bulletin by Margaretta Salinger as a depiction of ...the painter's great contemporary Alessandro Vittoria (1525-1608) cradling a version of one of his most significant works, the bronze statuette Saint Sebastian, also in the Museum's collection. There have been persistent questions about its condition, quality of execution, meaning, and date. In addition, scholars have queried the identification of both the sitter and the statuette. The authors describe here the examination undertaken to understand the technique and surface of the painting in order to consider these issues.
Despite the prominent career of Paolo (Caliari) Veronese (1528–88), much remains to be discovered about his patrons and peers. Several letters written by the artist are presented here for the first ...time, and their recipient is identified as the humanist Marcantonio Gandino. The letters reference artworks, visitors to Veronese’s studio, and economic data pertaining to the painter. Analyzing the correspondence from a variety of methodological viewpoints reveals how Veronese fulfilled commissions, interacted with nobility, and invested his painterly profits in land on the Venetianterraferma. In addition to promoting Veronese’s career and advising on financial matters, Gandino translated Plutarch and Xenophon, whose texts share classical subjects and content with Veronese’s paintings. The comparison of texts and images leaves open the possibility of an exchange between the writer and painter concerning matters of classical motifs.
Verones y Ovidio: Procris, Céfalo y la Brisa Alcaide, Víctor Nieto
Espacio, tiempo y forma. revista de la Facultad de Geografía e Historia / Serie 7, Historia del arte,
01/2003
16
Journal Article
Recenzirano
Odprti dostop
Prado Museum) was a companion to the one with Tlie Death of Procris (Strasbourg. Es muy posible que fuera adquirido por Velázquez en el segundo viaje a Italia, donde lo compraría en Venecia según la ...noticia transmitida por Palomino: «Compró también un Adonis y Venus abrazados, con un cupidillo a los pies, de mano de Paolo Veronés» . Museo del Prado), pintado en 1553, en las versiones del mismo tema de la National Gallery de Londres y la Galería Nacional de Roma, ambas de 1554, y las dos posteriores, de 1560, del Metropolitan Museum de Nueva York y de la National Gallery of Art de Washington. Kunsthistorisches Museum), pintada por el mismo Veronés, y en la que ambos personajes apareen representados en un escarceo amoroso.
