Veronese, The Wedding at Cana

Veronese

Paolo Veronese (1528–1588) was one of the primary Renaissance painters in Venice, well known for paintings such as The Wedding at Cana and The Feast in the House of Levi. Veronese is known as a supreme colorist, and for his illusionistic decorations in both fresco and oil. His most famous works are elaborate narrative cycles, executed in the dramatic and colorful style, full of majestic architectural settings and glittering pageantry.

His large paintings of biblical feasts executed for the refectories of monasteries in Venice and Verona are especially notable. For example, in The Wedding at Cana, which was painted in 1562–1563 in collaboration with Palladio, Veronese arranged the architecture to run mostly parallel to the picture plane, accentuating the processional character of the composition. The artist’s decorative genius was to recognize that dramatic perspective effects would have been tiresome in a living room or chapel, and that the narrative of the picture could best be absorbed as a colorful diversion.

The Wedding at Cana offers little in the representation of emotion: rather, it illustrates the carefully composed movement of its subjects along a primarily horizontal axis. Most of all, it is about the incandescence of light and color. Even as Veronese’s use of color attained greater intensity and luminosity, his attention to narrative, human sentiment, and a more subtle and meaningful physical interplay between his figures became evident.

This painting depicts the Bible story of the Marriage at Cana, a wedding banquet at which Jesus converts water to wine. The architecture features Doric and Corinthian columns surrounding a courtyard enclosed with a low balustrade. In the foreground, a group of musicians play Late–Renaissance instruments (lutes and stringed instruments).
The Wedding at Cana, Paolo Veronese (1562–1563): The artist’s decorative genius in The Wedding at Cana was to recognize that dramatic perspective effects would have been tiresome in a living room or chapel, and that the narrative of the picture could best be absorbed as a colorful diversion.

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