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[1] As an allegory, the job of this painting is to convey a moral message, that of the superiority of virtue over vice. The genre of allegory contrasts with Veronese's well-known tableaus of historical and biblical scenes, such as the Marriage at Cana as well as with the less formal works of other Renaissance Venetian painters like Giorgione or ...
Download as PDF; Printable version; In other projects Wikidata item; Appearance. move to sidebar hide. ... Allegory of Virtue and Vice (Veronese) C. Cephalus and ...
The Allegory of 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. [2]
Allegory of Justice; The Allegory of Love (Veronese) Allegory of Music; Allegory of Patience (Vasari) Allegory of Prudence; Allegory of the Battle of Lepanto; Allegory of the Element Earth; An Allegory of the Old and New Testaments; An Allegory of Truth and Time; Allegory of Vice (Correggio) Allegory of Virtue (Correggio) Allegory of Virtue and ...
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).
Allegory of Hercules; Allegory of Isabella d'Este's Coronation; Allegory of Justice; The Allegory of Love (Veronese) Allegory of Music; Allegory of Painting and Sculpture; Allegory of Prudence; Allegory of the Battle of Lepanto; Allegory of the Element Earth; An Allegory of Truth and Time; Allegory of Vice (Correggio) Allegory of Virtue (Correggio)
Famous examples from the visual arts include Albrecht Dürer's print Hercules at the Crossroads (1498), Paolo Veronese's Allegory of Virtue and Vice (1565), Annibale Carracci's The Choice of Hercules (1596), Gerard de Lairesse's Hercules between Virtue and Vice (1685) and Mariano Salvador Maella's mural in the Royal Palace of Madrid, Hercules ...
The other two are at the Frick Collection in New York: The Allegory of Virtue and Performance and Allegory of the Source of Wisdom and Power. [1] It deals with the romantic love of the Roman goddess of love Venus and the god of war Mars, as described in Ovid's Metamorphoses.