Paolo Veronese: Revizyonlar arasındaki fark
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72. satır:
==''Cana'da Düğün'' ve ''Levi Evinde Ziyafet'' şaheser tabloları ==
{{anamadde|''Cana'da Düğün''}}
1562 ile 1563'de Veronese en ünlü ve şaheser tablosu olan "[[Cana'da Düğün|Cana'da Düğün (Le Nozze di Cana)]] tablosunu Venedik'te San Maggiore adasından bulunan Benediktin Tarikatına ait olan [[Panquesten Manastırı]]'nın yemekhanesi duvarı için manastırin siparişi üzerine hazırladı. Bu büyük tablo Veronese'nin diğer ziyafet konulu tabloları gibi o zaman Venediklilerin olağan olarak yaptıkları yemekli ve diğer eğlenceli gayet büyük ziyafetleri göstermektedir. Bu duvar tablosunun uzunluğu nerede ise 10 metre ve alanı 66 metre kare olup, gayet büyüktür. İçinde 100 kişiden çok kişinin resimlerini ihtiva etmektedir. Bunlar arasında açıkça görelebilir şekilde Venedik ressamlar üçlüsünün ([[Titian]], [[Tintoretto]] ve Veronese'nin kendisinin) portreleri dahil edilmiştir
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had directed Veronese, as an artist, to freely include as many human figures as would fit in the banquet scene.
The tribunal's interrogation of the painter Veronese was cautionary, rather than punitive; political, rather than judicial; nonetheless, Veronese explained to the Inquisitiors that “we painters take the same liberties as poets and madmen” in telling a story. Although the Inquisition's tribunal ordered Veronese to repaint the last-supper scene, he opposed their remedy to his theological offences, yet was compelled to re-title the painting from the sacramental The Last Supper to The Feast in the House of Levi.[24] That an artist, such as Paolo Veronese, had successfully perdured against the Inquisition's implied accusation of heresy, indicated he had the discreet political support of a patrician patron of the arts.▼
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Satır 92 ⟶ 93:
Given the subject of the painting, the biblical Last Supper, the [[Renaissance humanism|humanistic]] depictions of the characters lacked the piousness usual to [[Roman Catholic art]] depicting the Christ character and the events of his life; and the [[Inquisition]] readily noticed Veronese's irreligiosity. By the 1570s, the theology of the [[Counter-Reformation]] had given legal authority to Roman Catholic doctrine in Venice, which was a new, political development for an artist sch as Veronese. Professionally, in the [[History of the Republic of Venice|Venetian republic]] of the Late–Renaissance, for an artist, painting crowd scenes had acquired political ramifications regarding who and what appeared in a religious painting commissioned from him, regardless of the patron or patroness.
In contrast, a decade later, Veronese encountered legal, religious constraints that determined the suitability (theological, political, sociological) of who and what he depicted in a painting—thus, on 18 July 1573, the Inquisition legally summoned Veronese before a tribunal, to explain the presence of what Church doctrine considered characters, animals, and indecorum extraneous to an image of the Last Supper of the Christ.[23]
▲The tribunal's interrogation of the painter Veronese was cautionary, rather than punitive; political, rather than judicial; nonetheless, Veronese explained to the Inquisitiors that “we painters take the same liberties as poets and madmen” in telling a story. Although the Inquisition's tribunal ordered Veronese to repaint the last-supper scene, he opposed their remedy to his theological offences, yet was compelled to re-title the painting from the sacramental The Last Supper to The Feast in the House of Levi.[24] That an artist, such as Paolo Veronese, had successfully perdured against the Inquisition's implied accusation of heresy, indicated he had the discreet political support of a patrician patron of the arts.
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