Paolo Veronese 保羅 委羅內塞 Paolo Caliari Italian Renaissance Painter 1528 1588

Paolo Caliari, known as Paolo Veronese (1528 – 19 April 1588)
Paolo Veronese (Caliari) (1528 - April 19, 1588)
Paolo was born in Verona – hence his nickname 'Veronese'. His father was a stonecutter and his mother was the illegitimate daughter of a nobleman called Caliari, a name the artist adopted in the 1550s. Veronese moved to Venice in the early 1550s and stayed there for the rest of his life, becoming one of the leading painters of the 16th century.
He was trained in Verona by Antonio Badile (about 1518–1560) whose daughter he married in 1566. Subsequently, it seems he served a stint in the studio of Giovanni Battista Caroto (1488–about 1563/6). The roots of his style may be located in the antique architecture and sculpture of Verona, but are ultimately his own synthesis of Central and Northern Italian influences.
In Venice, Titian's approach to composition, narrative, and colouring was crucial for Veronese, but his work is characterised by principles of harmony and compositional cohesion that owe as much to Raphael and the Central Italian tradition as to the Venetian. The flowing, sinuous line of Parmigianino is also an important precedent.
Giulio Romano and his Venetian colleague and rival Tintoretto were also significant touchstones at various points of Veronese's career, but his outlook is ultimately classical and harmonious in a way we tend not to associate with their work, and what has come more broadly to be understood as Mannerism.
For most of his career, Veronese worked for patrons, religious and secular, in Venice and the Veneto. Among his important works are the full-scale decoration of the Venetian church of S. Sebastiano (1555–around 1570), his ceiling and wall paintings for the library of S. Marco (1556–57) and the Ducal Palace (early 1550s and 1575–82), and his fresco decorations of the Villa Barbaro at Maser (around 1560), as well as a range of major altarpieces. From the 1560s onwards he also produced mythological pictures for an international clientele.
One of his specialities were large-scale scenes of feasts, and one of these, a Last Supper painted for a Dominican friar in 1573 (now in the Accademia in Venice), provoked the Inquisition because it included a wealth of what the inquisitors perceived to be irreverent detail. Veronese defended the painter’s right to ‘take the same licence as poets and jesters take’. He eventually changed the title to ‘Supper in the House of Levi’, rather than revise the painting itself.
Veronese ran a large workshop, assisted by his brother Benedetto and his sons Gabriele and Carlo (or 'Carletto'). They carried on his studio after his death.
委羅內塞出生於維羅納，原名保羅·卡拉里，父親是一名石匠，他因為出生地而獲得「委羅內塞」綽號，並以此而聞名。他和提香、丁托列托組成文藝復興晚期威尼斯畫派中的「三傑」。
委羅內塞少年時師從當地一位畫家，很快他就已經可以獨立作畫了，1544年，他已經出師，在帕爾馬以風格主義畫風出名，但他迅速地發展出自己顏色豐富的獨特畫風。
1548年，他移居曼托瓦，在為當地教堂繪製了壁畫，然後定居到威尼斯，1565年，他和導師的女兒結婚，後來生了四個兒子和一個女兒。最終在威尼斯逝世。
1552年，委羅內塞為聖弗朗西斯科大教堂繪製了《聖家族》，1553年，接受威尼斯共和國掌政的十人團委託，為會議廳和三巨頭廳做裝飾，然後又為聖巴斯弟盎教堂繪製了天頂畫《以斯帖的歷史》，為此獲得公爵和聖馬可圖書館授予的大師稱號。[5] 但他的這些作品實際是米開朗基羅的畫作中主題的精緻的縮小