Paolo Veronese masterpieces at the National Gallery

Veronese is a personal favourite of the High Renaissance. He doesn’t get the praise I think he deserves, and I think he’s totally arresting and compelling.

His highly stylised compositions with captivating use of colours and decorative details & qualities make for a glorious feast on the eyes. Also, his compositions are enormous. They can feel a little disarming.

He can capture a dramatic historical/classical moment, or make the painting move us beyond the mere “story” it reflects.

His illusionistic tricks wonderfully play with space, architectural detail, and light.

To do justice to Veronese, I have decided to split his works among a number of blog posts.

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The Adoration of the Magi

Oh my gosh... Really love it.

There’s just so much going on here..., but the eye is drawn towards a shaft of light illuminating the baby Christ. The three Magi (in such startlingly resplendent & opulent robes and garments) kneeling in supplication & in adoration.

The stable in, and over, Roman ruins. A nod to the Christian triumph over the pagan.

I am struck by the sheer sumptuousness of the garments (including the Madonna).

Gorgeous, rich ... angelic.

Angel heads, with bird-like wings, flying past a pagan ram’s 

head (which has shrubs growing out of it).

An observant dog at the corner is a recurring theme.

The roman numerals MDLXXIII refers to the year of the painting.

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The Consecration of Saint Nicholas

This is an old copy from an earlier post. This version wasn’t very good. I will update it.

As I wrote before:

This depicts the election of a new Bishop. One received a vision of a young-man called Nicholas kneeling. The figures interact in a vista which is completely unrealistic; curtains on one side and an elegant classic column on the other. A young Veronese in the background by the Bishop? And a strange twisted figure - almost falling - in the angel bearing the mitre and crosier.

Overall, I like the surreal claustrophobia of the scene, the expression of horror and shock carved on the body of the Bishop as he seems to recoil and advance at the same.

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The Conversion of Mary Magdalene

The colours and lighting/shadows against the architectural background is incredible. 

Mary Magdalene is shown here - fallen to her knees - overcome at the vision/words of Christ.

So beautiful, and the flooring is terrific.

The symmetry in the colours of Christ & Mary Magdalene is contrasted by their expressions.

Stoicism against “overwroughtness” ... I am not sure what Mary’s face and posture indicate,

but she seems distraught.

Note: her jewellery broken and slipping of her neck.

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The Dream of Saint Helena

Love it.

St Helena is the mother of Christian emperor Constantine. She is said to have the vision of the Cross on which Christ was crucified. 

From my old note:

St Helena is painted in such opulent colours of Venetian golds, oranges and rouges; and in soft delicate fineness. The green shoulder wrap, and the subtle red brushstrokes towards the bottom of her dress. The brushwork creates such incredible folds in her garments. Her lovely hair, dainty hands, beautiful face and carefree expression make this quite an intimate sensual painting. St Helena is glamorous and irresistible.

I think I like what I wrote.

I also notice how St Helena’s foot is resting against some furniture or projection of the wall. It feels rather like a “modern” depiction of a woman.

What a beautiful face, slightly bewitching ...

and there’s something engaging in the way she rests her head in her hand.

Also, the brushstrokes of luminescent whites and yellows create such

luxurious and regal garments.

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Portrait of a Gentleman of the Soranzo Family

Tremendous painting which was recently acquired by the gallery (2022).

This, it seems, is a rare example of Veronese’s full length head-to-toe portraits.

According to the NG:

Dressed in sumptuous black satin trimmed with ermine and poised against a backdrop of classical column and shimmering green drapery, this full-length portrait conveys the status of the sitter. He is thought to be a member of the Soranzo, one of Venice’s leading noble families, for whom Veronese worked throughout his career.

For me, I love the combination of the elegant and sumptuous - but dolorous use of colours, rather austere deportment, and his impassive and distant gaze to convey an aloof reserve and dignity. An “inherent” nobility and worth.

Terrific.