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Veronese was a spiritual revolutionary who waged battle against the forces of anti-life in the arts. He saw beauty as the most powerful catalyst for enlightenment, and he endowed the figures of Jesus, the apostles and saints with lifelike expressions. By associating them with easily identifiable places and things, he put them within the reach of the common people. The master transcended the traditionally flat, lifeless and grim aspects of medieval art; his biblical scenes and historical subjects, festivals and pageants were refreshingly executed with joy and sweeping grandeur. | Veronese was a spiritual revolutionary who waged battle against the forces of anti-life in the arts. He saw beauty as the most powerful catalyst for enlightenment, and he endowed the figures of Jesus, the apostles and saints with lifelike expressions. By associating them with easily identifiable places and things, he put them within the reach of the common people. The master transcended the traditionally flat, lifeless and grim aspects of medieval art; his biblical scenes and historical subjects, festivals and pageants were refreshingly executed with joy and sweeping grandeur. | ||
[[File:Paolo Veronese 008.jpg|thumb|upright=1.7|''Marriage at Cana''. This monumental painting (22 x 33 feet in size) was commissioned to occupy the entire rear wall in the refectory of the San Giorgio Monastery in Venice, the use of perspective giving the impression that the scene depicted was an extension of the room. Along with Christ and the apostles, Veronese depicted many historical and contemporary figures, including Mary I of England, Suleiman the Magnificent, the Holy Roman Emperor Charles V, and the principal artists of Venice as the musicians.]] | |||
He illustrated the steps of [[initiation]] on the path of Christhood and was prolific in painting the martyrdom of the saints. His most impressive work is the vast ''Marriage at Cana'', which hangs in the Louvre. His other paintings included the ''Temptation of Saint Anthony'', the ''Coronation of the Virgin'', the ''Deposition from the Cross'', ''Supper at Emmaus'', the ''Holy Family'' and the ''Raising of Lazarus''—each one of these an important initiation in Christhood. | He illustrated the steps of [[initiation]] on the path of Christhood and was prolific in painting the martyrdom of the saints. His most impressive work is the vast ''Marriage at Cana'', which hangs in the Louvre. His other paintings included the ''Temptation of Saint Anthony'', the ''Coronation of the Virgin'', the ''Deposition from the Cross'', ''Supper at Emmaus'', the ''Holy Family'' and the ''Raising of Lazarus''—each one of these an important initiation in Christhood. | ||
[[File:Paolo Veronese 007.jpg|thumb|upright= | [[File:Paolo Veronese 007.jpg|thumb|upright=2|alt=caption|''Feast in the House of Levi'', Paolo Veronese]] | ||
On one occasion he was summoned before the tribunal of the Inquisition under suspicion of heresy for the “irreverences” in his painting of the Last Supper, which included in it a dwarf, a parrot, guards in German armour, dogs and a jester. Veronese staunchly defended the artist’s right to freedom of imagination. The tribunal found a solution by suggesting that the painting be renamed ''Feast in the House of Levi''. | On one occasion he was summoned before the tribunal of the Inquisition under suspicion of heresy for the “irreverences” in his painting of the Last Supper, which included in it a dwarf, a parrot, guards in German armour, dogs and a jester. Veronese staunchly defended the artist’s right to freedom of imagination. The tribunal found a solution by suggesting that the painting be renamed ''Feast in the House of Levi''. | ||