#paolo caliari

[art-allegory]

Venice Enthroned with Justice and Peace

Artist: Paolo Caliari (Italian, 1528-1588), Known as Paolo Veronese

Date: 1575-1578

Medium: Oil on Canvas

Collection: Doge's Palace, Venice, Italy

[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

[empirearchives]

In my dreams, I can imagine the moment Napoleon caught sight of it in Italy, like that scene from War and Peace with the icon of Christ.

But unfortunately it now hangs across from the Mona Lisa, and is often ignored in an overcrowded room even though it might be the greatest painting in the whole museum.

Children in the Louvre, Paris, 1957. John Gutmann. Gelatin silver print

[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)

[mythological-art]

Mars Venus and Cupid

Artist: Paolo Veronese (Caliari) (Italian, 1528-1588)

Date: About 1580

Medium: Oil on Canvas

Collection: National Galleries Scotland, Edinburg, United Kingdom

Description

Venus gently comforts her son Cupid, who is startled by a lively little spaniel. This incidental detail enhances the immediate appeal of the mythological characters. The sensuous goddess of love, swathed in luxurious fabric, rests on Mars' knee. It is thought that the god of war may have been included late on in the design (possibly by an assistant) because only the figures of Venus and Cupid appear in related preparatory drawings (British Museum, London). The very sketchy treatment of Cupid's wings suggests that the painting may have been left unfinished.

[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.”]

[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,

[hzaidan]

In the sixteenth century when Spain became a world power with vast possessions and sources of wealth in the New World, as well as possessions dotted about Europe, it might have been expected that a vigorous national school of painting would emerge, transforming the somewhat tentative or imitative character that painting in Spain had shown up to then…

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Bolognese school,Florentine School,D. Teniers II,Hans Makart,Jean Béraud,Roman school,Paolo Caliari,Spanish school,RELIGIOUSART, Zaidan, Mythology, Religion, biography, History, Ancient, footnotes, fine art,

11 Paintings, RELIGIOUS ART - Interpretation of the Bible! by The Old Masters, With Footnotes # 46

[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

[lionofchaeronea]

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