Paolo was the product of four or five generations of Veronese painters, the first two or three of which had spoken the language of the whole mass of the people in a way that few other artists had ever done. Consequently, in the early Renaissance, there were no painters in the North of Italy, and few even in Florence, who were not touched by the influence of the Veronese. But Paolo's own immediate predecessors were no longer able to speak the language of the whole mass of the people.
There was one class they left out entirely, the class to whom Titian and Tintoretto appealed so strongly, the class that ruled, and that thought in the new way. Veronacity, being a dependency of Venice, did no ruling, and certainly not at all so much thinking as Venice, and life there continued healthful, simple, unconscious, untroubled by the approaching storm in the world's feelings. But although thought and feeling may be slow in invading a town, fashion comes there quickly. Spanish fashions in dress, and Spanish ceremonial in manners, reached Verona soon enough, and in Paolo Caliari we find all these fashions reflected, but health, simplicity, and unconsciousness as well.
This combination of seemingly opposite qualities forms his great charm for us today, and it must have proved as great an attraction to many of the Venetians of his own time, for they were already far enough removed from simplicity to appreciate to the full his singularly happy combination of ceremony and splendour with an almost childlike naturalness of feeling. Perhaps among his strongest admirers were the very men who most appreciated Titian's distinction and Tintoretto's poetry.
But it is curious to note that Paolo's chief employers were the monasteries. His cheerfulness, and his frank and joyous worldliness, the qualities, in short, which we find in his huge pictures of feasts, seem to have been particularly welcome to those who were expected to make their meat and drink of the very opposite qualities. This is no small comment on the times, and shows how thorough had been the permeation of the spirit of the Renaissance when even the religious orders gave up their pretence to asceticism and piety.
Renaissance Art, Renaissance Painting, Giorgione, Italian Art, Lotto, Giotto, The School of Leonardo, Raphael, Tintoretto, Paolo Veronese, Velasquez, Longhi, Massacchio, Verocchio, Naturalism, Duccio, Simone Martini, Renaissance Painters, Donatello, Pisanello, Liberale, Boticelli, Melozzo da Forli, Luca Signorelli, Michelangelo, Butinole, Zenalle, Bramante, Bramantino, Correggio, Leoardo da Vinci, Tactile Values, Humanism, The School of Verona, The Umbrian School, The School of Perugia, Domenico Brusasorci, Vincenzo Foppa, Milanese Art, Venetian Art, The School of Piedmont, Florence Art