Paolo Caliari says Véronèse. 

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Paolo Caliari says Véronèse (1528-1588).

Wire of sculptor it owes his nickname at its birthplace and becomes with Titien and Tintoret one of the Venetian great painters of XVIème century. In its first works it is very influenced by the mannerism of the Parmesan although in its tables show through the first elements of the High Roman Rebirth.

By its use of the light and a decorative application of the color it can already create a traditional figurative painting. It establishes the bases of its own style by carrying out the decoration of the church San Sebastiano in Venice where it carries out only the ceiling of the sacristy (the Crowning of the Virgin 1555) and then painted representations of biblical episodes for the great nave (Ester Life and Triumph of Mardochée 1556). The three large medallions of the national Library Marciana in Venice are worth to him the gold medal of the procurateurs of St Marc. In Venice dominated by the art of growing old Titien Véronèse can borrow from the mannerism to widen its research on space, the depth and the matter. While dividing space harmoniously it stresses a flooded bottom of light. While introducing elements such as pages, children who enter by blank doors of the dogs on staircases, characters on false balconies it manages to create a very ironic aesthetic distance.

It carries to its apogee the sumptuous Venetian world which it represents in manner illusionnist by reducing his architecture. At the end of its life it reconciles elements of the High Rebirth with elements mannerists in a style announcing the baroque already.