top of page

Veronese "Cana Wedding" comments.

gerard van weyenbergh

Paolo Veronese, also known as Caliari, was born in Verona in 1528. He used other aliases to sign his works, such as Paolo di Gabriele and da Verona. He will become an apprentice to Antonio Badille, an esteemed Italian Renaissance painter associated with the Venetian school. The Venetian school, which emerged in the 14th century, is the second major school of Italian art. Its notable representatives include Titian, renowned for his exceptional ability to capture the personalities of his subjects in his portraits, Bellini, whose works played a crucial role in Italy's departure from medieval art styles, Bassano, an Italian Mannerist painter, and Veronese. The art of the Venetian style is characterized by vibrant colors and well-defined lines.

Throughout his apprenticeship, he gained extensive expertise in architecture and perspective, as well as proficiency in capturing the vitality and gracefulness of figures, the dignity and authenticity of expressions, and the brilliance and harmony in the use of colors.

Travel: In 1548, he departed for Treviso in accordance with a request to paint and adorn the Villa Soranza. His artistic abilities caught the attention of Cardinal Gonzaga, who extended an invitation for him to travel to Mantua and create a painting depicting the temptation of St. Anthony in the Cathedral.

In 1553, he relocated to Venice due to his increasing renown. There, he assumed the role of the republic's painter and showcased his exceptional skills in producing a multitude of frescoes and decorations, primarily of a religious nature. Examples include the depiction of the coronation of the Virgin at the church of San Sebiastiano and St. Mark bestowing crowns upon the virtues.

In 1560, he embarked on a research expedition to Rome, where he had the opportunity to meet renowned artists Raphael and Michelangelo. However, after two years, he departed once more to undertake the task of embellishing the Barbaro estate, which was owned by his brother. During this period, he created the painting titled "Wedding at Cana" which was commissioned for the refectory of the Benedictines of Penquesten.

Subsequently, in 1566, he made his way back to Verona with the intention of marrying Elena Badile, who happened to be the daughter of his mentor, Antonio Badile.

 

Conclusion

Veronese is renowned for his exceptional skill in using color and his ability to create realistic illusions through his fresco and oil embellishments. The artwork exhibits the striking and vibrant aesthetic of the Mannerist movement, characterized by grandiose and dazzling compositions. Mannerism is an artistic style characterized by exaggerated shapes and the use of symbols. It is a sophisticated way of expression intended for educated individuals.


Examination of the Wedding at Cana

Created by Paolo Veronese during the years 1562 and 1563. A large-scale oil painting on canvas with dimensions of 677 x 994 cm. Currently, the artifact is housed at the renowned Louvre museum in Paris.

 

This picture is representative of the Venetian school of art, characterized by vibrant colors and the depiction of a biblical scene [Gospel according to St John chapter II] in a Venetian environment.

 

Historical events and past occurrences.

The Benedictines of the San Giorgio Maggiore monastery in Venice commissioned the painting on June 6, 1562. The refectory of the monastery, for which Palladio just finished renovations, is its intended use. The contract stipulates that Veronese will have the ability to depict as many figures as can be accommodated within the painting, a provision that was likely proposed by Veronese himself. He clarifies that the painting must have the exact same dimensions as the front wall and cover the entire surface. Veronese presumably finished the picture no later than September 8, 1563.

 

Summary

This painting depicts the wedding at Cana, as described by John in his gospel. At that location, Christ demonstrated his initial extraordinary act: the virgin informed Jesus that there was a shortage of wine. She arranged for stone containers, which were typically used for Jewish purification rituals during weddings, to be brought. Jesus instructed the servants to fill these containers with water, which they promptly did. He then instructed them to present the contents to the master of ceremonies. When the master of ceremonies tasted the liquid, it had miraculously transformed into wine.

Veronese situates this picture in a Venetian backdrop, evident in the architectural elements such as the Doric, Corinthian, and composite columns. Additionally, the opulently adorned apparel and the depiction of Venetian festivals characteristic of the 16th century further enhance the Venetian ambiance.

The picture also depicts a contrast between the mystical elements (located at the top and right side of the painting, such as the clerics, the sky, and the inverted triangle) and the secular world (located at the bottom and left side, representing the laity,...) Jesus represents the division between these two realms as he occupies a central position.

Veronese provides a reinterpretation of his painting by incorporating allusions to the Last Supper. In the composition, Christ is positioned at the center, encircled by his disciples. The Virgin Mary is depicted wearing a black veil, which serves as a foreshadowing of the impending mourning. Above Christ, there is a depiction of a lamb cut out on the terrace, symbolizing the mystical lamb and the future sacrifice of Jesus. Additionally, the presence of an hourglass near the musicians and a gnawed bone both evoke the imminent death of Christ.


Composition: The balustrade of the terrace represents symmetry via the center, with the horizon line positioned just above the Christ figure. This symbolizes the division between the earthly and the divine. The Christ figure is strategically placed on a natural line of force, which enhances its power and is positioned slightly below the center of the artwork.

In order to maximize the field of view and evenly distribute numerous figures in the space, Veronese employs two simultaneous perspective systems. One is used for the architecture situated directly above Christ's head, while the other is utilized for the flooring and the table, with a vanishing point positioned within the clouds to establish a connection between man and the sky.

The illumination, diffused and gentle, emanates from the right side and is mirrored on the edifice situated at the extreme right of the composition.

It is important to mention that this painting brings to life a total of 132 characters. The bride and husband are positioned on the right side, rather than in the central location traditionally reserved for Christ.

To the left, the jars are filled with wine, representing the miraculous act of Christ. Mary is adorned with a black veil in the center, symbolizing the impending sadness.

Foregrounding the musicians, who serve as symbols of celebration, may perhaps include depictions of Veronese himself (clad in white) and Titian.

Atop Christ, we sacrifice the enigmatic lamb, representing Christ's self-sacrifice. Simultaneously, we offer figs as desserts, a traditional symbol of fertility for the bride and groom. Additionally, the restrained greyhounds signify marital fidelity.

Color: A harmonious selection of hues created using pigments sourced from the Eastern region. Contrast plays a crucial role in distinguishing and giving unique characteristics to each individual. The colors exhibit a high degree of intensity and brilliance. After undergoing a restoration 3 years ago, the colors have fully regained their brilliance, just like the outfit of the master of ceremonies, which transitioned from green back to red.

 

Isolines

They are in good condition and their characteristics are determined by the volume.

The execution is seamless and accurate, with meticulous attention to every detail (> 132 characters).

 

Historical Background

As per the contract terms, Veronese was obligated to completely cover a wall surface in order to create an optical illusion and provide the feeling of grandeur. Veronese flawlessly executed this point. However, when he suggested showcasing his painting, the inquisition took legal action against him because they deemed it inappropriate to feature a religious scene in a Venetian celebration. Fortunately, Veronese emerged victorious in his case due to his strategic division of the painting into two halves. As mentioned earlier, he cleverly positioned a group of priests with considerable wealth in the spiritual realm. This tactic garnered him some respect from the inquisition, ultimately leading to the dismissal of his trial. © Gerard Van Weyenbergh

 

Comments

Rated 0 out of 5 stars.
No ratings yet

Add a rating
bottom of page