| |
| | Véronèse, Paolo |
 | | Veronese combined these elements of the local High Renaissance style with elements of Mannerism, including complex compositional schemes that often employ a so-called worm's-eye view perspective and figures reminiscent of those of Italian artist Michelangelo, in powerful foreshortened or contorted poses. |
 | | Veronese's growing interest in the artistic representation of architecture, inspired partly by the real architecture of such contemporaries as Palladio and partly by contemporary theater stage settings, is evident in his vast Marriage at Cana (1562-1563, Louvre, Paris), virtually a cityscape in which figures receive only incidental attention. |
 | | In 1573 Veronese was charged with impiety by the Holy Office of the Inquisition for his painting The Last Supper, a depiction of Jesus Christ and his disciples in a grand Venetian gallery adorned with animals, clowns, and other colorful figures. |
| cartage.org.lb /en/themes/Biographies/MainBiographies/V/veronese/2.html (623 words) |
|