#paolo caliari

[lionofchaeronea]

The Baptism of Christ, Paolo Veronese (Paolo Caliari) and workshop, ca. 1580-88

[briefblueseason]

Meditations on the luminous mysteries in the LGBTQ rosary by Fr. Don Greene.

🖼️: Baptism of the Lord by Paolo Caliari

Wedding at Cana by Andrei Mironov

Christ Preaching at Capernaum by Maurycy Gottlieb

Transfiguration by Titian

Last Supper by Michael Wolgemut

[mayhemchicken-artblog]

you believe me like a god // i'll betray you like a man

credits:

Song lyrics taken from I'm Your Man by Mitski

Artworks referenced:

The Annunciation - Workshop of Fra Filippo Lippi

Last Judgment in an Initial C - Lorenzo Monaco (Piero di Giovanni)

Boy with a Greyhound - Paolo Veronese (Paolo Caliari)

Venus and Adonis - Peter Paul Rubens

[history-of-fashion]

4th quarter of 16th century (1575-1600) School of Paolo Caliari - Portrait of a Venetian Lady

(Staatliches Museum Schwerin)

[joseandrestabarnia]

Sagrada Familia con San Juan y Santa Catalina Paolo Caliari, conocido como Veronese (Verona c. 1528 – Venecia 1588) ca. 1565 Pintura al óleo sobre lienzo 86x122 cm Inventario 1890 n. 1433

La altísima calidad de esta obra se destaca por el espléndido marco tallado con figuras de ángeles puttini sosteniendo en sus manos los instrumentos de la Pasión (corona de espinas, tenazas, la columna, el látigo, la lanza), referencias iconográficas al destino. del sufrimiento del niño Jesús, representado en el centro del lienzo con su madre, San José y el pequeño San Juan, mientras se le acerca una regia Santa Catalina. La marcada plasticidad de las tallas y el diseño general del marco sugieren que se atribuyó a una fabricación romana de mediados del siglo XVII, basada en un diseño de Pietro da Cortona, el gran artista barroco que fue llamado a Florencia por los grandes Medici. duques para trabajar en la decoración al fresco del Palacio Pitti. Pintado por Paolo Veronese hacia 1565 y conservado en Venecia en la colección Widmann, el lienzo fue adquirido por los "Príncipes Serenos de Toscana" Leopoldo y Giovan Carlo de' Medici en 1654 a propuesta del comerciante florentino, pero residente en Venecia, Paolo. del Tarde. Para la compra se pagó la altísima suma de 1.000 escudos, lo que demuestra la fortuna preponderante de Veronese entre los coleccionistas y los "intendentes" de arte, siguiendo el gusto neoveneciano de la cultura figurativa de la época barroca.

Información de la web de la Gallerie degli Uffizi, imagen de mi autoría.

[mysterious-secret-garden]

Etching by William Unger, after Paolo Caliari aka Paolo Veronese - Christ raising the daughter of Jairus.

[sonjatwogreyhounds]

PAOLO CALIARI, IL VERONESE

Boy with a Greyhound

[letsgostealthelouvre]

I originally opened the record for "Woman with Child and Dog” by Paolo Caliari because I was hoping there would be more dog involved; it’s a perfectly nice painting but LBR we want to see the dog. But as I was scrolling around in the record I checked the provenance, and

I guess they’re being honest about it, at least. I’m pretty sure, it being 1798, that this was a Napoleon job, but I didn’t look into it too closely. 

[ID: An oil painting of a woman in renaissance garb, what appears to be a green velvet gown over a silky white shirt, with a gold necklace and a decorative veil over her hair. One of her arms extends downward, where a small child with light auburn-gold curly hair is clinging to her wrist. The woman looks out at the viewer; the child looks down and away from her, at the long, narrow snout of a sporting dog in the lower corner. Second image is a screencap from the record that just reads “Acquiring Details: Military Conquest.”]

[restless-witch]

Witcher Fandom: Costume Historian Weighing In On Episode 1

my first post that’s screenshots next to art/garments they remind me of and a little commentary

Renfri

Important details to highlight:

-Wrap around top with a separate piece as the collar

-Fairly tight sleeves

Portrait of a Young Man; ca. 1508 Hans Süss von Kulmbach, German

NGL I had completely dismissed finding anything for Renfri because of how anachronistic her design seemed to me re: historical design (because of her pants and leather armor) but I was wildly delighted to find this piece. I was drawn to the similar wrap-around structure with a separate collar piece to add stability. In the painting it seems more like a jacket with sleeves that button open along the arm, but I’m still chuffed!

;) hair’s not so different either

Stregobor

Important details to highlight:

-High gathering on the sleeve head- though not a puffed sleeve

-Small ruffle on the cuffs and collar of his shirt/smock

-Unstructured overgown/surcoat (considered somewhat unfashionable/worn by old men by the 1550s)

Originally, I’d placed the silhouette much more in 1500 because of the length of the skirt on his jerkin and his wearing an overgown/surcoat but high neckline, the absence of a true puffed sleeve, and the long line of buttons pushes this forward in time

Portrait of a Man with a Rosary ca. 1508 Lucas Cranach the Elder, German

The neckline here is low compared to Stregobor but you can clearly see the kind of overgown/surcoat that Stregobor wears: they were often trimmed with fur, as in this painting, but they were typically fitted through the shoulders and loose around the body.

On the arms of the doublet, you can also see what appears to be a damask or brocade fabric- though much much subtle than Stregobor’s!

Alessandro Vittoria ca. 1580 Paolo Veronese (Paolo Caliari), Italian

Here we can see a sleeve much more like Stregobor’s- it’s gathered high in the head and tapers down into a slimmer fit on the forearm. We can also see the ruffles of his shirt at the cuff and collar. There’s a line down the front, and I can’t see if there’s buttons because of the image quality, but fabric or thread covered buttons to “blend in” with the garment were also made at the time!

Danek

Important details to highlight:

-Breastplate with vertical striped ornamentation

-Relatively low/smooth line to the pauldrons

-Relatively small/tight spaulders

-A low pigeon breast curve to the breastplate

-Low collared gorget

Hello I know very little about dating armor

Sir John Shurley of Isfield (1588) British Painter British

Arms and armor are hard for me to date but I feel like these look like contemporaries

Calanthe (helmet)

Important details to highlight: 

-High Ridge

-Visored

-Angled Cheekguards

Burgonet ca. 1585 Italy

If I remember correctly, this is the style of helmets worn by pikemen and cavalrymen- the ridge was to redirect the force of a direct bashing blow

Marilka

Important details to highlight:

-Straight cut to skirt

-Low neckline on her smock/chemise

-Waist is high under the bust

We don’t have many dated and easy to discern peasant outfits in the historical record- but what I really like about Marilka’s outfit is that the palette is in a natural and available dye color. Her skirt is in the range of what you can dye with madder and her coat/bodice is a mostly blue / sort of green which you can achieve by overdying woad with weld.

Juni, Brevarium Grimani, fol. 7v (Flemish)  circa 1510 

As I said above, here’s a good example of the color palette in the historical record. For the closer woman, the blue portion you can see is probably the bottom half of a kirtle which would also have a laced bodice. Marilka could be wearing a kirtle under her jacket: many didn’t have a “front” portion as we would know them- some of them had a full back and just tied across the front to accommodate different sizes. The jacket has short sleeves which would have provided additional protection from the sun and like Marilka they have a v front.

okay hello everyone I am not going to go down the rabbit hole of the history of knitting here too like I’m sorry it’s weird and complicated and hard to explain but TL;DR knit garments of the time were not like Marilka’s they were like this because of complicated political/guild reasons and also the price of labor and wool

The Knuckle Bones Crew

Important Details

-High shoulders to the jackets

-Lack of puffed sleeves, some with shoulder “wings”

-Trunks/Hose are close to the legs

The puffed sleeves generally drop from fashion in the 1560s and the puffed trunks/breeches drop in the 1570s where they become baggy and become more fitted in the 1580s. Though in the 1580s, the doublets generally had longer skirts so I’d generally place this in the 1590s.

Doublet 1605-1610 (made), 1870-1895 (altered) England

This is from a decade later- so the waist line on the jacket has risen a bit. Here you can see the double seams of the sleeves (along the front and back of the arm) that allow for a tighter fit and full range of movement. You can see the shoulder wings here- rather conservative. In the 1590s the wings were wider in length, and in the 1600-1610s they were thicker. Interestingly, along the waist seam you can see small holes/eyelets where the hose/breeches/trunks would lace into the doublet! That lacing held your “pants” up

Two Children Teasing a Cat (c. 1600) Annibale Carracci Italian

NGL I just thought this was cute

Ciri

Important Details:

-High Narrow Shoulders

-Sleeves Coordinating (not matching) Body

-Slight puff to shoulders

Separates for women were a thing that we know was common though there’s fewer portraits I can find of it. Women wearing doublets was a trend in the Elizabethan era (c. 1560-1600). I think her full outfit has a separate matching skirt and there’s a peplum on the doublet which did happen.

Portrait of a Lady in Black and White -  Alessandro Allori (Florence) c. 1590

This is a rather fanciful example but here we go: a front closing women’s doublet/gown with coordinating sleeves. Under the ruff, there was likely a grown-on collar as Ciri wears. I’m peeved because I know I’ve seen examples much closer to what Ciri wears but I can’t find any right now.

.

I skipped over a few screenshots I originally wanted to do (Eist, the ball guests, and Mousesack/Ermion for sure) because I’d already spent two nights on it but if there’s something you’d like me to unpack- I’d be happy to do it for you <3

[terciariosfranciscanos]

Visión de Santa Elena.

Hacia 1580.

Paolo Caliari #Veronese (1528-1588).

@Musei_Vaticani

[foreverpraying]

Today is the Feast of the Baptism of the Lord (Theophany)

Carl Bloch: Baptism of Christ

Veronese alias Paolo Caliari: Baptism of Christ

Unknown artist: The Baptism of Christ

[junior-reyes]

Virtual Sketchbook 3

The painting “Rest on the flight into Egypt” by Paolo Veronese is a oil on canvas painting that is almost 8 feet tall and is 236.2 x 161.3 cm. The painting would be bought and sent to the John and Mable Ringling Museum in 2008.

Research on the artist:

Now lest talk about Paolo Veronese, one of the most gifted painters in his time. “His distinctive style was developed early, and he secured many commissions for both religious and secular paintings.”  “His painting style showed a harmonious balancing of forms and color to create a serenity for which he became celebrated.” Veronese is known for story telling in his paintings and in the painting “Rest on the flight into Egypt” he did not disappoint.  Veronese was very popular, with american collectors and this is how many of his work ended up in the Ringling Museum in Sarasota Florida. After some research I the painting, it is said to be done by his son also, his son’s name is Carlo Caliari, after visiting the museums in person they had a little description and his sons name was also on the description, so maybe that’s true. Which I think is really cool a painting, with a dad and son.

Research on the paining and its background/ THINKING:  

 Now let’s talk about the painting I want to explain the painting itself and after some research I found out on the painting and that, “is based upon the New Testament Gospel of Matthew 2: 13-15. Warned in a dream that Herod the King was searching for the infant Jesus to kill him, Joseph took him and his mother away to safety in Egypt where they remained until after Herod's death. Also “Mary and Jesus along with Joseph are seated in a landscape, their belongings lie on the ground, and they are assisted by angels who serve food. A palm tree, emblematic of the Christian martyr is part of the scene.” Now that we got background of the painting out the way let’s talk about the painting itself,

Details and physical qualities about the painting:

 The painting is huge and consists of many different colors and shapes, some examples are the blue wrapped around Mary as she is holding the holy child. The sky in the background is also blue. After some research at the time the color blue was often associated with royalty and could also be a symbol of the heavens. We see the use of green in the trees and some brown on the ground, these two colors give the feeling of earth, and it gives us a setting in the painting. We do also, see some shapes in the painting, we see many curved lines, and this gives the effect of movement, and it creates the landscape in the picture. We see this in leaves, the clouds in the back and on the clothes each person is wearing. However, lets take a second and explain the painting, in the painting we have Mary and joseph and a child. The child is known as Jesus. They create the royal family. They are in the center and are the focus point of the painting. We also see many more things in the painting, we see angles, we see a donkey and a blue cloudy sky in the back. I already explained, what I think the sky represents, however I want to talk about the angels, I believe, the angles are protecting Mary, joseph, and Jesus the angels are seen giving them food and looks to be guiding them or protecting them, maybe they are doing both. Also, we see them around a tree, the tree could be a symbol of cover, and this is where they are resting, we can see their belongings on the ground and the angels are giving them food as they sit and rest.

How the paining made me feel and why did I pick it and its importance:

 This painting made me feel, calm and happy, mainly because of the colors, I feel like the use of gold blue and green make it me feel safe and happy. Everyone in the painting is gather around looking at baby Jesus and it just makes me feel happy and I can’t really explain why. This painting is a renaissance type of art, and this fits in perfect with Veronese other works of art. This painting showcases Veronese in many ways, it shows that many of his paintings do have a story in them and that every painting he does has a meaning and Cleary gets it across in this painting. And finally, the importance of this art was to tell a story of the royal family and to do it in a painting, where nothing moves but, being able to still story tell through a painting is incredible and I believe this is why it is on display at the Ringling Museum and why it is so popular today. Not many artists are able to do what Veronese did. And I picked it because , as I was walking through the museum, this painting caught my eye, more than any other painting and I knew I had to learn more about it, and I’m glad I did,

[yes-bernie-stuff]

Luke 7:1-10

Saints Pope Cornelius and Bishop Cyprian, Martyrs

Saint Anthony the Abbot with St. Cornelius and St. Cyprian,

Painted by Paolo Caliari (1528-1588), known as Paolo Veronese,

Painted between 1565-71,

Oil on canvas

© Pinacoteca di Brera, Italy

[parnasse31]

Girolamo Contarini par Athèna Via Flickr : Girolamo Contarini (1570, Philadelphia Museum of Art, Philadelphie) de Paolo Caliari dit Véronèse (1528-1588)

[blinkaholik1]

Reliquary Continued

El Greco (Domenikos Theotokpoulos) Spanish, 1541-1614 Oil on canvas During a meal in the house of Simon, a repentant woman, often assumed to be Mary Magdalene, anointed Christ with costly oil. Although Simon condemned her faith, and the episode came to be associated with the sacrament of penance, whose value was reaffirmed by the Counter-Reformation. The scale of this work suggests that it served as the altarpiece of a chapel or side altar. The spatial distortions and the flamelike forms of the drapery, which seem to consume the bodies of the figures, are characteristic of the work of El Greco’s last years. Gift of Joseph Winterbotham, 1949.397 Workshop of Veronese (Paolo Caliari) Italian, 1528-1588 Saint Jerome in the Woods 1585/90 Oil on canvas Veronese mainited an active workshop, in which members of his family participated to meet the demand for paintings in his style. This picture may have been a collaboration between the artist’s brother Benedetto Caliari and son Carletto Caliari, who painted the landscape and he figural elements respectively. The broad brushstrokes do not demonstrate the freedom or effects of flickering light found in Veronese’s own work. Charles H. and Mary F. S. Worcester Collection, 1947.117 American Art (168) The Helen-Bowen American Art (170)The Julia Dole and Warner Green Baird Gallery The Hudson River School By the mid-19th century, landscapes by the Hudson school of artists had become the most popular paintings in the United States. Although Americans realized they could not compete with Europe in terms of cultural history, they were proud of their country’s spectacular scenery and prized the paintings that celebrated it. 1816 De WiTt Clinton, later governor of New York, spoke of the appropriateness of new American nation as a nation as a subject for landscape painting, asking: “Can there be a country in the world better calculated than ours, to exact the imagination- to call into activity the creative powers of the mind, and to afford just views of the beautiful, the wonderful and the sublime? Here, nature has conducted her operations on a magnificent scale.” Many Americans went further and viewed their land as a new Garden of Eden, interpreting awe-inspiring sites like Niagara Falls as proof of God’s creative powers. As the century progressed and human habitation filled the wilderness, landscaped gained nostalgic attractions. Hudson River school painters often eliminated signs of settlement in their pictures and used Native Americans as symbols of a pure, unspoiled nature. Tourists sites like New Hampshire’s White Mountains grew popuLar, and, for those who could not leave the city, landscapes of the preindustrial agrarian subjects provided a temporary respite froM urban life. After the Civil War, many Americans prospered and were able to travel more, and their outlook became increasingly international. Growing numbers of American artists studied in Paris, and painters such as George Inness began to portray the American landscape using the atmospheric, French-influenced styles. As a result, there was a decline in demand for the Hudson River school’s detailed views of the American Wilderness. William M. Harnett American, born Ireland, 1848-1892 r

[joseandrestabarnia]

Bautismo de Cristo de Paolo Caliari, conocido como Veronés

Características Fecha: ca. 1580 Museo: Palacio Pitti Recopilación: Galería Palatina Colocación: Salón de la Ilíada Técnica: Pintura al óleo sobre lienzo Dimensiones: 196x133 cm Inventario: palatina n. 186

San Juan Bautista constituye una presencia recurrente en el catálogo de Veronese tanto como protagonista (como en 'El Sermón' de la Galería Borghese de Roma), como coprotagonista (como en los múltiples ejemplos del Bautismo de Cristo) o como lujo. compañero en composiciones de compromiso más amplio.

Mirando específicamente los lienzos de temas similares que salpican su producción, casi parece que el artista quisiera resumir experiencias anteriores llevándolas a una definición. De hecho, la atención se centra en la escena del primer piso, sin las cargas estructurales de las aperturas paisajísticas o las incursiones de los clientes. La centralidad del elemento trinitario es confirmada por el trío de ángeles, así como por el eje a lo largo del cual se suceden la paloma del Espíritu Santo, la copa del Bautista y la cabeza de Cristo, en parte unidos por el tronco del árbol. Veronese se centra, pues, en la interpretación que asume el episodio del bautismo de Cristo en los evangelios sinópticos, no sólo eliminando detalles irrelevantes, sino también recuperando la postura de Cristo con los brazos cruzados de la evidencia juvenil. Un detalle muy significativo que alude a la Crucifixión, recordando cómo el Bautismo es una prefiguración de esta. Al elegir ser bautizado en el Jordán con el propósito de purificarse, como lo hizo Juan con sus seguidores, Jesús efectivamente acepta compartir los pecados de los hombres dentro de un camino de sufrimiento y redención que culminará en la Cruz. Una elección sellada por la voz del Padre y proclamada por la venida del Espíritu Santo en forma de paloma, para recomponer las tres personas de las SS con Jesús. Trinidad, y cumpliendo así la profecía adelantada por el precursor, sobre el advenimiento del Mesías "el que bautiza en Espíritu Santo y fuego".

El cuadro se encontraba originalmente en el Oratorio de la cofradía florentina de Ancona y por una inscripción en el reverso sabemos que fue reparado en la sacristía por el peligro "de ser dañado por ratones, humedad y otros desastres". De hecho, sufrió numerosos daños cuando llegó a Florencia en 1667 tras su compra por Fernando II de Médicis. El Gran Duque, apasionado de la pintura veneciana, le asignó un lugar privilegiado en la Tribuna, pero primero lo confió al cuidado de Baldassarre Franceschini, conocido como el Volterrano que lo "ordenó", llevando a cabo intervenciones conservadoras y de reintegración, además de diseñar un nuevo marco, creado entonces por Jacopo Maria Foggini. Poco después, en 1699, la obra llegó a la mira del Gran Príncipe Fernando, que la quería para su colección y encargó a Niccolò Cassana que la tensara y ampliara.

Información de la web de la Gallerie degli Uffizi, fotografía de mi autoría.