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Allegory of Wisdom and Strength or Wisdom and Strength is a painting by Paolo Veronese, created c. 1565 in Venice. It is now located in the Frick Collection, in New York. It is a large-scale allegorical painting depicting Divine Wisdom personified on the left and Hercules, representing Strength and earthly concerns, on the right. Wisdom gazes ...
The Choice Between Virtue and Vice and Wisdom and Strength have traveled together since their creation, through many prestigious owners and collections. Because of this, many scholars assumed that Veronese painted them as a pair. In 1970, Edgar Munhall was the first scholar to suggest that they were simply made at the same time, not as pendants ...
Paolo Caliari (1528 – 19 April 1588), known as Paolo Veronese (/ ˌ v ɛr ə ˈ n eɪ z eɪ,-z i / VERR-ə-NAY-zay, -zee, US also /-eɪ s i /-see; Italian: [ˈpaːolo veroˈneːze,-eːse]), was an Italian Renaissance painter based in Venice, known for extremely large history paintings of religion and mythology, such as The Wedding at Cana (1563) and The Feast in the House of Levi (1573).
The Mystic Marriage of Saint Catherine is a c.1575 oil-on-canvas painting by Paolo Veronese, produced as the high altarpiece for Santa Caterina church in Venice. It remained there until the First World War, during which it was moved to its present home in the city's Gallerie dell'Accademia [ 1 ]
Holy Family with Saint Catherine and Saint John the Baptist is an oil-on-canvas painting by Paolo Veronese, now in the Uffizi, in Florence. [1] Its dating is debated, varying between his early period and his late one, the latter influenced by Tintoretto, with the latter the majority view, placing it in c.1562–1565.
Paolo Veronese was known for his depictions of luxurious settings and love of decorating the most holy and sacred of scenes with people clad in shimmering fur-lined gowns made of silks and brocades, more reminiscent of Venetian high society than humble representations of the subjects.
This may help explain Veronese's choice of subject matter in Saint Anthony Preaching to the Fish, including his humbling self-portrait, the sympathetic portrait of Tintoretto, and the sumptuous treatment of the bystanders. [16] Representations of the sermon to the fish—though not unprecedented before Veronese—are rare in Antonian iconography.
From Veronese's mature phase, it was one of a series of monumental "Feasts" for monastery refectories of monasteries in Venice – The Wedding at Cana for San Giorgio Maggiore (now in the Louvre) and another The Feast in the House of Simon the Pharisee for Santi Nazaro e Celso (now in Turin) were earlier works in the series. [2]