1528-1588 Paolo Veronese Galleries Italian painter and draughtsman. With Titian and Tintoretto he makes up the triumvirate of great painters of the late Renaissance in Venice. He is known as a supreme colourist and for his illusionistic decorations in both fresco and oil. His large paintings of biblical feasts executed for the refectories of monasteries in Venice and Verona are especially celebrated. He also produced many altarpieces, history and mythological paintings and portraits. His compositional sketches in pen, ink and wash, figure studies in chalk, and chiaroscuro modelli and ricordi form a significant body of drawings. He headed a family workshop that remained active after his death.  Related Paintings of Paolo Veronese :. | rape of europa venice, ducal palace, | The wedding to canons | celing of the sala dell'olimpo | coronation of esther | martyrdom of st. sebastian |
Related Artists:
Paggi, Giovanni Battista
Italian Baroque Era Painter, 1554-1627 .Italian painter and theorist. As the son of a newly inscribed nobleman, he received a Renaissance gentleman's education, but as an artist he was it seems self-taught, despite the encouragement of Luca Cambiaso. The gentleman who then set up as a painter was obliged to give his work to patrons, sometimes expecting future remuneration; but when one patron reneged on payment in 1581, Paggi mortally wounded him and was banished from Genoa. He was given protection by Francesco I de' Medici, Grand Duke of Tuscany, and settled in Florence. A fresco of St Catherine Converting Two Criminals (1582), painted for Niccol? Gaddi's family chapel at S Maria Novella and thoroughly Florentine in manner, established Paggi's reputation at the Medici court. He painted ephemeral decorations, portraits (all untraced) and altarpieces for many Florentine churches and for the cathedrals of San Gimignano (c. 1590), Pistoia (1591-3) and Lucca (1597-8),
Makart, Hans
Austrian Academic Painter, 1840-1884 Austrian painter. He studied (1860-65) at the Akademie in Munich under the history painter Karl Theodor von Piloty whose influence is evident in Makart's Death of Pappenheim (1861; Vienna, Hist. Mus.). Makart visited London and Paris in 1862 and Rome in 1863. The Papal Election (1863-5; Munich, Neue Pin.) reveals Makart's skill in the bold use of colour to convey drama as well as his virtuoso draughtsmanship. Two decorative triptychs, Modern Cupids (1868; Vienna, Zentsparkasse), and the Plague in Florence (1868; Schweinfurt, Samml. Schefer), brought Makart both fame and disapproval (mostly because they lacked a literary original) when exhibited in Munich in 1868. His plan for the second work
Paris Bordone
Italian 1500-1571 Italian painter and draughtsman. He is best known for his strikingly beautiful depictions of women, both in portraits and in cabinet paintings. He also excelled in rendering monumental architectural settings for narrative, both religious and secular, possibly initiating a genre that would find great currency during the mid-16th century, especially in Venice, France and the Netherlands. His favoured media were oil and fresco, the latter being used on both interiors and faades. Although he was not generally sought after by Venetian patrons during his career, as his art was eclipsed by that of Titian, Paolo Veronese and Jacopo Tintoretto, Bordone was regarded in the mid-16th century as an accomplished artist (Pino; Sansovino). He worked for the moneyed lite of northern Italy and Bavaria, for the royalty of France and Poland, and had works commissioned to be sent to Spain and to Flanders. Despite knowledge of the important patrons for whom he worked, the chronology of Bordones oeuvre is by no means clear. Dating on stylistic grounds is confounded by the diverse sources on which he drew, ranging from the Emilian, Lombard and Venetian to the French and northern European, depending on the patron. Due to the ease with which prints circulated during Bordones career, it is difficult to ascertain whether influences were derived at first hand or from printed images. Such difficulties in assigning dates are further exacerbated by his use of the same figure study for numerous paintings evidently executed decades apart. Reliance on the testimony of Vasari, who interviewed Bordone in 1566, in conjunction with the extant documents, the few signed and dated paintings and, to a lesser extent, period fashion provides only a rough outline of his activity. Due to the lack of agreement among scholars regarding chronology, the following account is based mainly on the documentary evidence.