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The Wedding at Cana: The forgotten history of a famous canvas. - Las Bodas de Caná: La historia olvidada de un cuadro famoso (Historical novel - Essay)
Abstract and Figures
How Paolo Caliari buried the great master Giorgione for a second time under the colors of his palette, and the swings of the protagonists of the monumental work that marveled Europe for centuries. The work recounts, in a literary tone, the rugged and laborious remodeling of the central scene of the painting from its beginnings to the providential arrival of Ortiz, along with the vicissitudes and misadventures suffered by its author.
De cómo Paolo Caliari sepultó al gran maestro Giorgione por segunda vez bajo los colores de su paleta, y de los vaivenes de los protagonistas de la monumental obra que durante siglos maravilló a toda Europa. La obra relata, en un tono literario, la accidentada y laboriosa remodelación de la escena central del cuadro desde sus comienzos hasta la providencial llegada de Ortiz, junto con las vicisitudes y desventuras que sufrió su autor.
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Jacopo Tintoretto and Paolo Veronese were two of the most prolific draughtsmen of Renaissance Venice, as testifi ed by the relevant number of surviving drawings attributed to them. The black chalk, occasionally heightened with white, had been Tintoretto’s preferred medium, whereas Veronese always preferred pen and ink. Moreover, drawings of the latter belonged to different categories (sketches, studies of figures, chiaroscuro drawings), while Tintoretto drew chiefl y single figure studies. The reason behind these differences should be sought in the use these artists made of drawings: Tintoretto used it exclusively as a vehicle in his progress towards the fi nished painting and not as an intellectual tool, as Veronese did. It is well known that Tintoretto and Veronese had reciprocally studied themselves, but their approach to drawing has never been compared before. Highlighting the differences of their corpus graphicum, this article aims to compare the drawing practice inside Tintoretto and Veronese’s workshops and their working methods.
In 1608, the English traveller and eccentric Thomas Coryat visited Venice, an experience which he described in some detail in his Crudities published in London three years later. Among the wonders of the city ‘hastily gobled up’ (as the title-page puts it) were a number of musical events, principally the celebration of the feast-day of S Roch which Coryat had attended in the main hall of the Scuola di S Rocco. There, surrounded by the vast glowing canvases of Jacopo Tintoretto, he had listened for some three hours to what seems to have been a concert (rather than a strictly liturgical occasion), which:
consisted principally of musicke, which was both vocall and instrumental, so good, so delectable, so rare, so admirable, so super excellent, that it did even ravish and stupifie all those strangers that never heard the like … For mine own part I can say this, that I was for the time even rapt up with Saint Paul into the third heaven.
His lyrical description continues by praising the choir of 20 voices and the instrumental ensemble of 24 performers (ten trombones, four cornetts, two violas da gamba, one violin and seven organs), precisely the kind of forces which we normally associate with Venetian polyphony of the High Renaissance.
This book presents a history of musical activities at Venetian lay confraternities - institutions that were crucial to the cultural and ceremonial life of Venice. It traces musical practices from the origins of the earliest confraternities in the mid-13th century to their suppression under the French and Austrian governments in the early 19th century. It first discusses the scuole grandi, the largest and most important of the Venetian confraternities. The scuole grandi hosted some of the most elaborate musical events in the Venetian calendar, including lavish annual festivities for each scuola's patron saint and often enlisting such high-profile musicians as Giovanni Gabrieli and Claudio Monteverdi. They also employed singers, instrumentalists, and organists on a salaried basis for processions and regular religious services. The book places detailed descriptions of these events in the context of the scuole grandi's long histories, as the roles of musicians evolved over the centuries. The book's second part is concerned with the scuole piccole, the numerous smaller confraternities born in churches throughout Venice. These local organizations usually did not employ salaried musicians, but hired singers and players as needed for their annual festivities and other occasions. Detailed appendixes include a calendar of musical events at all Venetian confraternities in the early 18th century and a complete listing of musicians for an important 17th century festival. The book demonstrates the vital role of confraternities in the musical and ceremonial life of Venice.
This article examines the signatures on Venetian paintings from about 1440 to about 1550. It argues that painters' signatures are one means of documenting the arrival of Renaissance taste and artistic practice in Venice and its development through the period. Furthermore, they index the changing business practices, professional status, and self-regard of Venetian painters.
The smallest telling snapshot flashes to us a more immediate image of a person than pages of biography and interpretation, and neither a mass of documents about an artist, nor the entire body of his works, reveals so much of his essence as a likeness taken from life by one of his gifted contemporaries. Paolo Veronese's portrait of the Venetian sculptor Alessandro Vittoria, which has recently come into the Mu-seum's collection, is filled with a special interest for the Museum because of the statuette which he conspicuously displays, a work by Vittoria of which the Museum owns a version. But aside from its content, the painting is so strong and beautiful that it would be valued even as a por-trait of an unknown man.
Paolo Veronese9s Marriage Feast at Cana (1562––62; Museee du Louvre, Paris) reflects the dining experience of the Benedictine monks whose tables continued along the walls of the monastery9s refectory as an extension of the painting. In effect, the monks shared the meal, becoming part of the miracle portrayed in Veronese9s grand banquet. Moreover, the sumptuousness and decadence of late-sixteenth-century Venice, reflects the dining practices and sociability of the time. Feasting scenes, like the one depicted here, often did not emphasize food; rather, the focus was on the conspicuous display of material goods for which the Venetians were famous. The opulence of the environment, the table settings, and service rival the sumptuous dress of the wedding guests.
Three of Veronese's paintings are discussed: Christ Addressing a Kneeling Woman, NG 931, The Consecration of Saint Nicholas, NG 26, and The Family of Darius before Alexander, NG 294, which have a similar tonality. All have a gesso ground and the first two have a warm-toned imprimatura. Veronese's methods and use of pigments is then presented and illustrated with cross-sections which show the discolouration of some pigments, such as smalt. The findings are compared with known 16th-century Venetian practice. Greens and yellows are discussed in detail. Veronese's choice of materials does not appear to relate to the date of the paintings.
Niccolò Fausti, master of ceremonies at St Mark's Venice from 1576 to 1598, in one of his several additions at the back of a manuscript ceremoniale of 1564, lists the days on which Vespers in the ducal basilica were performed by two choirs of singers.
Paolo Veronese e i Benedittini di Padova e il territorio, en 'Padova e del territorio
- Baldissin Molli
Baldissin Molli, Giovanna (2014). Paolo Veronese e i
Benedittini di Padova e il territorio, en 'Padova e del territorio',
Rivista di Storia, Arte, Cultura, Anno XXIX, Dicembre, nº 172, pp. 6-10.
La ricche minere della pittura veneziana, Seconda impressione con nove aggiunte
- Marco Boschini
Boschini, Marco (1674). La ricche minere della pittura
veneziana, Seconda impressione con nove aggiunte, Venecia.
Reimpresión 1969.