Talk:Paolo Veronese

message: Veronese is one of the great Venetian artists of the period just after Titian. Like Titian Veronese was a wonderful colorist. His most memorable work are the trompe'oil scenes he executed within glorious architectural settings in villas around the Veneto, especially in combination with Palladio's sublime architecture. Mark Faraday 05:20, 31 December 2006 (UTC)
thread_title: Untitled

message: Now I have removed the expansion tag, after adding content, cites, and images. More is needed, but the article at least looks respectable now, something closer to what Veronese merits. JNW 03:27, 25 February 2007 (UTC)
replies: text: Yes - good job! Johnbod 03:31, 25 February 2007 (UTC)
thread_title: Expansion

message: According to a short notice in the Feb 07 Apollo, the catalogue of the big Prado exhibition (Feb-May 07) "reveals the new information that the artist's surname was Comin" Johnbod 17:23, 6 March 2007 (UTC)
thread_title:  real name Comin 

message: I've changed "heretical" to "indecorous", which I think is correct. I don't have Rearick & am going on Rostand as in the other treatment of the matter (and note - which seems to be a dead link just now;it was ok a month ago) - which I'd linked to in the caption here. We should keep our stories straight, but let me know if you want to discuss.  Any whiff of heresy was remote, even by Inquisitorial standards, and this was after all Venice, not Spain. (See the original version of article also) Johnbod 09:17, 26 March 2007 (UTC)
replies: text: I have found what appears to be a complete transcript: .  No details of any matter seem to have been given in the Summons & the only mention of heresy is tangential, presumably referring to German satirical prints. I had seen the meaty bit before, but hadn't realized the whole thing was so short. Rather less than the "tried for heresy" of myth.  Johnbod 18:16, 26 March 2007 (UTC)

text: It was the "indecorousness" which really is heading to sacrilege rather than heresy I suppose; evidently they thought that was within their remit.  The Spanish (Seville) Inquisition had Pacheco, Velasquez's father-in-law as Censor of religious paintings. As you say, enforcing the Tridentine resolutions.  Like Veronese, I suppose people were reluctant to tell them it was none of their business.  Johnbod 21:34, 26 March 2007 (UTC)
thread_title:  Levi 

message: Time for a further revamp, with a big London exhibition coming in March. I'm inclined to remove the not very helpful infobox & use the space for a wide image of one of the biggies at a decent size. I think the "Anthology" might be hived off to a list article, maybe keeping a list of the few that have articles here. Thoughts? Johnbod (talk) 17:35, 29 December 2013 (UTC)
replies: text: This all sounds good to me. Ewulp (talk) 03:58, 30 December 2013 (UTC)
replies: text: Thanks Johnbod (talk) 14:31, 30 December 2013 (UTC)
thread_title:  Changes 

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thread_title:  External links modified 

message: Veronese visibly used the same models again and again, especially the female ones. Both the man and the woman in Venus and Adonis and Cephalus and Procris are the same, obviously. But "Procris" also returns as Lucretia, anybody can see that it is again the same woman. I will not go as far as saying that all the blonde women with curly hair in his 1580s paintings (such as in Mars and Venus with Cupid and a Dog) are one and the same person, but do we know more about the identity of his models?
I am well aware that had already used a blonde model with curly hair twenty years prior, for instance in Allegory of Wisdom and Strength. Could that be his wife, and the others, his daughter? --Edelseider (talk) 08:58, 21 July 2020 (UTC)
thread_title:  Who were his models?