February, 2021 - Of Art and Wine

Veronese, the Elegant, Eloquent Sophisticate, and Soave, a Still, White Wine.

Detail of the Wedding Feast of Cana by Paolo Veronese, 1563. Click the image to magnify.

Here we have them. Yes, THEM! They are four great painters from the Renaissance in Venice. Three of them are near immortals, and the fourth did well enough to be included in the blockbuster museum show, Titian, Tintoretto, Veronese, Rivalries in Venice, at the Louvre, 2009. They painted in the 16th century’s Bella Maniera, also called Mannerism, period, in a climate that did not favor the fresco painting of the Florentines. These Venetians benefitted from what the seas brought to them, which included oil painting, a medium much better suited to damp Venice. Oil painting freed them to paint on canvas, glory in the rich colors that Venice is so famous for, and develop a secondary art market in which paintings could be sold from one owner to another, since paintings on canvas can be easily moved.

So who are these gentlemen showing off their skills in music, yet another art? Up front on the left is the man who painted the great painting The Wedding Feast at Cana (1563), based on the Bible story where Jesus turned water into wine to serve all the guests. When I speak of this painting, I truly do mean great, as it has huge dimensions: 22’3″ x 32′ (yes, that is feet!), which can now only be accommodated in the grand halls of the Louvre (see gettyimages.com). He, dressed in gold and white and playing a tenor viol, is Paolo Veronese, his head slightly turned to hear what Diego Ortiz, the master of the viola da gamba, is whispering in his ear. (Perhaps something about that water-to-wine event? No, probably the latest on which artist might be getting the next big commission.) In the shadows on the flute is Jacopo Bassano, the #4 painter who had quite a respectable career and was famous for painting dogs. Veronese honors him here with the dogs that are at the musician-artists’ feet. Next, looking quite civilized, is our enfant terrible, Jacopo Tintoretto, on the violin, and finally the grand old man and great master, Titian, playing the bass viol. What a charming way to present these grand masters of their day and also put the artists front and center in this painting with a cast of 130 different figures.

Detail from the Wedding Feast at Cana (1563.) A bit of a tribute to Jacopo Bassano, famous for his dog paintings.

Of Art and Wine has already looked at the rise of Titian (1488-1576), once a student of Giorgione (1480-1510), who took over after his master’s death to rise to international fame through his many commissions from foreign heads of state. We have also looked at the career of Tintoretto (1518-1594), who specialized in Venetian clientele, and was a master at gaining important commissions in the city of Venice. Now, it is time to turn to the third of these masters, Paolo Caliari, a.k.a. Veronese (1528-1588), known forever by the name of his birth place, Verona.

Here in a self-portrait c. 1558, we see Veronese after his first flush of success in Venice. He had arrived in 1553 after a brief stay in Mantua where his contact with Julio Romano, the former right-hand man to Raphael, had exposed Veronese to the ideas of Mannerism, including its emphasis on elegance and color, both of which were of keen interest to Veronese. One of the things apparent in the exhibition at the Louvre was the change in Veronese’s painting wrought by his exposure to Mannerism and to Venice.

Virgin and Infant with St. Joseph by Veronese, 1550

While the painting above was done for a church in Venice, San Francesco della Vigna, it was still early on in Veronese’ career and when he was not an inhabitant of Venice. Though his skill in compositon and in the rendering of drapery is quite masterful, the colors used are very much toned down, blending easily with gray to produce a somber, and appropriate religious tone. Compare this to the halls and walls of the Villa Barbaro which he painted in 1560-61, a few years after his move to Venice. It isn’t hard to note the colorful effects that the light of Venice had on his perception of color.

Interior painted walls of the Villa Barbaro, by Veronese c. 1560

Veronese had been born to a stonecutter and a woman who was related to Venetian nobility, the Caliari family. His talent became apparent when in his teens, so he was sent to work in the studio of a local artist. However, Veronese’s talent soon outshown that of the other artists in his environment, so off he went on the journey that led him to settle in Venice. Using the name Paolo Caliari to associate himself with a Venetian family of noble background, he made his way into Venetian society. His talent was such that Vasari, writing years later, referred to Veronese’s mature period as beginning at about the age of 25! He became known as a painter of great dramas, which showed off his ability to paint human figures and arrange them in poses familiar to the Venetians of his day. They were often set in grand banquet scenes for which the Venetians were famous. Below is an example. It is the Feast in the House of Levi, along with a detail noting the principle participants.

This painting is enormous, of course. However, even with all the people, many of whom would be more familiar to the 16th century Venetians than to those in the time of Jesus, one does notice that at the table are Jesus and his Disciples. They are present because this consortium of people and animals (a dog and a cat are prominently in front of the table) was originally called, The Last Supper. Compared to Leonardo da Vinci’s Last Supper, and those of a number of other painters of the day, all of whom focused on the principle characters at that sacred event, Veronese’s version is full of all kinds of other people and seemed far too celebratory to say the least. Even though Veronese was well-known, often commissioned,and favored by Venetian high society, painting a Last Supper with this cast of characters just did not seem right to the Holy Inquisition, who said, “Oh ney ney” and called the painter before them to do some explaining.

Though Venice had long maintained its independence even from the church, once actually sending some of the Church’s delegates back to Rome, the Holy Inquisitors were still nothing to be toyed with. Veronese may have been sweating at the thought of thumscrews to his delicate painter’s fingers, but his verbal abilities did not leave him as he told the Inquisitors that painters were like poets. They were inspired beings who were really not responsible for where the inspiration led them. However, upon looking at the painting, it most probably should be considered a painting of the Feast at the House of Levi and not a Last Supper. As the Inquisitors nodded, he assured them that it really was the Feast at the House of Levi and that he had simply been confused in his creative frenzy. He told them he’d change the name of the painting. They agreed and let him off with a warning about gaining some self-control.

Paradise in the Doges’ Palace in Venice. c. 1588 Domenico Tintoretto and the Studio of Tintoretto

The painting above was to be Veronese’s great masterpiece. It is a representation of Paradise. Veronese, a long-time friend of Jacopo Bassano and his family, had gained the commission from the Doge to paint this great wall in the room of the Grand Council. He was to do it with Francesco Bassano, the son of his friend, in a move that would have well-enhanced the career of Francesco, whose own father, Jacopo, was growing old. Everything was set for this prestigious work when suddenly Veronese died. The Doge and his council did not feel that Francesco could pull off this work without Veronese, and with Titian having died some years before, the studio they turned to was that of Tintoretto. Tintoretto himself was getting on in years, yet he was able to guide his son Domenico, who was the chief artist for this painting. Sadly for Francesco, with the loss of Veronese, he was left floundering. His father, Jacopo, died in February, 1592, and a few months later, Francesco committed suicide. One can only wonder how different things might have been had Veronese lived.

For those of us who love art, even though Veronese did not live as long as Tintoretto or Titian, he left us with such lovely, elegant works. His banquet paintings are so famous they have become the subject of a wonderful study by Kate Hansen on his Wedding Feast at Cana. It is called “The Language of the Banquet” (rochester.edu.) and takes a detailed look at the meaning in this painting that caused it to be said that “Paolo is praised with eternal fame.”

Vineyard painting from the Villa Barbaro by Veronese.

Sources for this article are the catalog for Titien, Tintoret, Veronese, Rivalités a Venise, published by Musée du Louvre Editions, 2009, and Dossier de L’Art #217, Veronese Exposition a la National Gallery, Londres, April, 2014.

Marjorie Vernelle is an artist, writer, college professor, and traveler. For more see the Pages at ofartandwine.com or her author’s page at amazon.com and her art at Vernelle Art Boutique vernellestudio.com.

©marjorie vernelle 2021

Soave, a smooth, delicate, still white wine

A glass of Soave and a view of the vineyard that yielded it. Photo credit to news.italianfood.net

As we think of the elegant beauty of Veronese’s paintings and of those banquet scenes where wine flowed like water (or in the case of the Wedding Feast of Cana from water), there had to be room for one of the Veneto’s favorite wines, Soave. Like the French word we so often use for that which is elegant, suave, the Italian soave means the same thing and implies a soft touch. To the taste of fruits like peaches, honeydew melon, and citrus zest, it adds a Venetian bit of saltiness. With age, the really good Soave develops a rich oily tone with a touch of a nutty flavor both of which add zing to its taste.

Garganega grapes are the basis of Soave wines. Photo credit italyabroad.com

The pale, whitish-pink beauties in the photo above are the garganega grapes from which Soave is made. Grown in the Veneto in the areas around Verona and Vicenza, Garganega is also grown as far south as Sicily. Garganega grapes produce a pale yellow wine that is not particularly acidic and which can have the aromas of almond and white flowers (see link above). While Trebbiano di Soave grapes and even Chardonnay grapes can sometimes be used to make Soave, the real deal focuses on Garganega grapes.

Soave is one of Italy’s favorite wines and most wineries in the Veneto produce a Soave even though their main production might be Valpolicella or Prosecco. While those are sparkling wines, Soave is a still wine, so there are no bubbles. To get the best Soave, one has to look for the wineries that specialize in making this particular wine. Just buying a well-known winery’s soave won’t necessarily give you the taste experience you want. So heed the advice of Ian D’Agata on vinous.com and choose a winery known for making Soave. There is also Soave Classico, which refers to this wine when made in the Veneto and from 70% Garganega grapes. In particular Soave Classico is made only from grapes grown in the original area around Soave, itself. This also can be something to look for when hunting for a great Soave wine. Then make sure to serve it chilled, somewhere around 45 degrees Fahrenheit, to get the best of a cool, smooth, delightful flavor.

Grilled prawns, a wonderful simple dish to serve with Soave. Photo Credit matchingfoodandwine.com

When it comes to foods to match with Soave, well Venice is on the sea, in fact not unlike the Goddess Venus, Venice came out of the sea itself, as it stands upon hundreds of thousands of piles driven into the ground below the water. That means that seafood is a perfect match for Soave. Fiona Beckett on her site Matching Food and Wine (see link above) gives about a half-dozen great recipes for shrimp, any of which would work well with Soave. However, do not leave out clams, calamari, and salmon with asperagus or fresh tuna with penne pasta.

So while you dream of a visit to Venice to see some of Veronese’s best works in situ, enjoy some of this wonderful wine, which can still be had for a moderate price. If Venice is too far away for the moment, you can still travel by joining a wine club. Cellars Wine Club offers a good selection of imported wines.

Cellars not only has an Imported Wine Club, it also offers a great deal on cases of imported wines. The wines are selected by the experts at Cellars and come with tasting notes to enhance your tasting experience. The shipping is free and there is a “no bad bottle” return policy. It is a wonderful way to explore the world and the world of wine. Click here cellarswineclub or go to Pages on this blogsite to Cellars Wine Club.

Note:Of Art and Wine affiliates with Bluehost.com and CellarsWineClub.com and may earn from qualifying purchases.

©marjorie vernelle 2021

Coming soon: Art History C.S.I. and Wine and Poison, a Lethal Combo.

Masaccio Self-portrait from the Brancacci Chapel c. 1422

Masaccio, a nickname for Tommaso or Thomas, can mean either “Big Thomas,” or “Messy Thomas,” or “Dirty Thomas.” They might all apply in this case. Masaccio was the painter who kicked off the 15th century’s Renaissance in painting that happened in Florence. His work at the Brancacci Chapel revolutionized painting as it was known at that time. Born in 1401 and dead in 1428, Masaccio died in mysterious circumstances in Rome, perhaps over a dispute about a recipe for red paint.

“L’enfant terrible” of Venice and Which Wine, Which Glass?

Jacopo Tintoretto Self Portrait, Venice, 1546.

What do you see when you look into those eyes? Perhaps determination with a touch of defiance? And that face, what does its expression say about its owner? One may see a strong will, seriousness, and shrewdness, but I think one can also see what has been called his “devouring ambition.” Even in this painting, rather than showing himself in a calm, dignified pose, like Titian, we see his right arm raised as if painting. He looks at us as though we are the mirror he is using as he paints his self-portrait. This man is always at work, always moving ahead, setting a standard, and beating the odds to carve out his space and fortune in the competitive arena of the 16th century’s Venetian painters.

Of course, amid the lavish wealth of Venice and the Venetian Republic, what was the son of a humble cloth dyer (il tintore) to do? Well, Jacopo Robusti (1518-1594) took his talent, and what his father’s workshop had taught him about colors and business, out into the wealthy world of Venice to make his mark. Not forgetting his roots, he focused his painting career on Venice and its wealthy patrons, using the name Tintoretto (the little dyer) as a sign of his authenticity.

Self-portraits of the three greatest painters of the Venetian Renaissance: Titian, Tintoretto, Vernonese.

There they are. The three greats of Renaissance painting in Venice. Titian, himself an ambitious man, who as a young painter, challenged his master Giorgioni’s talent as they painted the façade of Fondaco dei Tedeschi; Tintoretto, in an unusually candid, front-facing portrait he slyly called, Portrait of a Man, the man being himself in middle age; and Veronese, a charming, talented sophisticate, who when brought before the Holy Inquisition, claimed that artists like poets were divinely inspired, therefore, not completely responsible for what they did. (He changed the name of the painting in question to please the inquistors, but that story is TO BE CONTINUED…)

Tintoretto started at the age of twelve in the studio of Titian, a painter known for his wealthy clients, both locally and abroad, one of those foreign clients being the Holy Roman Emperor and King of Spain, Charles the Fifth. Tintoretto was such an irritant to Titian, that the older, highly regarded artist threw this upstart teenager out of his studio. Tintoretto immediately took up the mantle of Titian’s primary rival, Pondenone, who had just died, and proclaimed his focus to be on the style of Central Italy, one that pleased some of Titian’s clients, most notably Pietro Aretino, who then commissioned work from Tintoretto.

Pietro Aretino was a poet, racconteur, art dealer, promoter, and general man of many talents, one of which was the use of his acerbic wit. His tongue was so sharp that people paid him not to publicly assault them with his words. Here, in a portrait by Titian, he commented on his disappointment in how Titian had rendered his fine robes, saying that probably had he paid extra, the artist would have rendered the satin and velour in more elaborate detail. When he sat for Tintoretto, however, Tintoretto threathened him about making nasty comments about the painting, so there were none.

The painting of the 16th century Renaissance Bella Maniera (Mannerism) often featured the retelling of stories from the classics that had men ravishing women, who were then to do the appropriate thing, like commit suicide. The most commonly painted story with such an end was that of Tarquin and Lucretia. The thing that concerns us here is an innovation that Tintoretto makes in his telling of the story.

Tarquin and Lucretia by Tintoretto, c.1570 Art Institute of Chicago artic.edu Click on image to magnify.

As the dastardly deed unfolds, Tintoretto uses what modern filmmakers call a “freeze frame.” Here the artist chose not to show the pearls from the broken necklace just lying on the floor, but to freeze the picture with the pearls falling through midair. This stylistic touch adds to the drama of the scene. In a film version, the camera might cut away from the violence at that moment and show just those pearls dropping to the floor to represent what was taking place off camera. Innovations like that in Tintoretto’s painting may have been one of the reasons why David Bowie called the artist “a proto-rock star.” Bowie was one of the few private collectors who owned a Tintoretto painting (Angel Fortelling St. Catherine of Alexandria of Her Martyrdom). The man who purchased the painting from the Bowie estate has placed it in the Rubens House Museum in Antwerp, as Rubens was also a great lover of Tintoretto’s work.

The stories of the naked ladies in distress had a number of versions, one of which is not only one of my favorite stories of that type, as the men get what they deserve for their evil actions, but it is also the subject of my favorite Tintoretto, Susanna and the Elders.

Susanna and the Elders, by Tintoretto, 1555-1556. Kunsthistorisches Museum in Vienna, Austria. Click on image to magnify.

I saw this painting at a wonderful show in the Louvre called Titian, Tintoretto, Veronese, Rivalries in Venice, 2009. I had always associated Tintoretto with those paintings of saints that come flying into scenes to save the day, supernatural supermen. However, this story was a more common one of two old men who spy on a beautiful young woman in the privacy of her garden. They try to proposition her for sex. When she flees to her house to get away, they say they are going to tell that they caught her, a married woman, having sex with a young man who was not her husband. By the laws of the time, adultery was punishable by death. They told their story, but the prophet Daniel had the wisdom to have the two accusers questioned individually about the details of what they had seen. They had two completely different stories, so it was they who were judged and sentenced to death.

When I saw this painting, I was captivated by how beautifully Tintoretto had painted the decorative elements in the painting. From the hedge of roses with its many blooms, to the faint reflection of Susanna’s leg in the crystal clear water, to the vanity items of her clothing, her pearls, the chalices and most of all the elaborate braids and ornaments in her hair style, this painting is such a joy to look at. The contrasts in light and dark make the garden scene magical as they at the same time hint at the evil intent of the two elders. Susanna is lit in quite a bright light, the source of which is hard to figure as she is sitting behind that dark hedge. However, the idea is to show her innocence, while the elders are shown literally as “creeps,” for one haunts the far end of the hedge like a spectre, as his companion pokes his bald head down around the hedge on the other end.

The other aspect that is so interesting in this painting is Tintoretto’s take on the subject of reflection. Giorgione in the early 1500s had worked with the idea of reflective surfaces as a way to show many sides of a painted 2D figure. The use of the mirror and other shiny surfaces began to appear in paintings of women looking at themselves in mirrors, their faces set in a mood of inner reflection as they saw their physical features reflected back to them. Many years later Tintoretto takes on the theme in his picture of Susanna, who does indeed gaze into her mirror, cast at such an angle that she would see herself face-on, but we only see part of her clothing reflected. One of her legs has a minimal reflection in the little pool of water on the edge of which she sits. However, her image would also be reflected in the cornea of the eyes of the two elders, who see her each from different sides. In a sense she is seen almost in the round though she is a 2D image.

One must admire the business acumen of Tintoretto, here seen in another self-portrait. He was a champion at “niche maketing” as he left the overseas, foreign commissions to Titian and others, concentrating instead on the local clientele of Venice. Circulating among those local clients, he was known for undercutting his competition in price. He painted fast and sold some 300 works during his career. He was certainly crafty when it came to outfoxing his competition for commissions.

One of the most amusing tales of sculduggery in terms of gaining a commission is that of the competition for the painted dome of the Scuola di San Rocco. Tintoretto had decided that San Rocco was his to paint. When the artists were called to bring in their sketches for the project, they came, as the elegant Veronese did, with wonderful designs and eloquent proposals. Tintoretto told the decision makers to just go up to the room and look up. There on the ceiling was his fully painted design for the dome. He’d used his contacts within the Scuola to get the measurements and had workers help him attach the finished canvas in place. Yes, he got the commission and most of the rest of the Scuola’s commissions as well.

Yet in all that he never forgot something he had learned in the studio of his master and rival, Titian. While he favored the drawing of central Italy and Michelangelo in particular, he remembered his old master, too. In Tintoretto’s studio was a sign that guided the artistic production of that studio. Loosely translated it read: “The drawing of Michelangelo and the colors of Titian.”

Source for this article: Titien, Tintoret, Veronese, Rivalités a Venise, the catalog from the 2009/10 exhibition of the same name, published by Musée Editions du Louvre.

For another look at the story of Susanna and the Elders in painting, go to the Art Blog at vernellestudio.com to “The Indecent Proposal:Susanna and the Elders, as seen by Tintoretto, Gentilleschi, and Benton.”

Marjorie Vernelle is an artist, writer, college professor, and traveler. For more see the Pages at ofartandwine.com, her author page at amazon.com and her art at Vernelle Art Boutique vernellestudio.com.

Which glass, which wine? Help has arrived.

The aftermath of a wine tasting with food pairings in Gigondas, France. Click image to magnify.

I know the picture above is confusing. It surely reinforces your anxieties over choosing the right glass in which to serve your guests their wine. However, it is a cherished photo of a fabulous lunch made of samples of different wines (see the bottles on the menu) and food pairings to go with them. This I experienced with friends in the village of Gigondas, in the Vaucluse, the heart of Provence’s wine country. Fond memories aside, and sorry for startling you all with this confusion of glasses, it is time to get down to sorting this all out. Let’s start with white wines.

The basics of white wine glasses. Photo credit to vintageroots.co.uk Click the link for a good article on the subject.

Here white wine is simplified to the basics, focusing on the three main white wines most commonly drunk. You will notice the Chardonnay glass has a “bowl” with a wide opening. Chardonnay comes in three varieties, one of which is oaked, meaning it has matured in oak barrels, which gives it a buttery taste. To allow full appreciation of that taste, which has taken years to produce, the glass must allow more air to circulate when the wine is swirled in the glass, hence the larger more open bowl. The glass for Sauvignon Blanc has a more closed in rim and even a sturdier “stem,” which is one of the places one should hold a wine glass (or by the “base”) since holding it by the bowl warms the wine with the heat from your hands and robs some of the flavors. It also leaves icky-looking fingerprints. Sauvignon Blanc has fruit flavors of apple, peach and lime. A glass with a narrower opening allows those aromas to stay more in the glass so you can get the benefit of them. Riesling is a light, dry, crisp wine served in a similar glass for similar reasons. It is a bit smaller in size, but the wine-glass patrol will not write you a citation if you use the larger Sauvignon Blanc Glass.

Types of red wine glasses. Photo credit to vintageroots.co.uk

While it is possible to go absolutely crazy choosing red wine glasses, these four do the trick for most occasions. The Cabernet/Merlot glasses often come in the biggest size for wine glasses. That has to do with the need to swirl the wine to aerate it to bring out the flavors. In fact it and Shiraz (notice the similarity in glasses) both need time to develop once poured, so the open mouth format allows the air to enter and mingle with the wine. Bordeaux has a bowl that is more flared at the bottom, which allows for the swirling that it needs to aerate.

Pinot Noir, the most drinkable of the red wines, as it is food friendly and can be drunk before dining as well, has a special glass that is a bit different from the one shown above. Notice that the bowl is sometimes almost squared at the botton. It fits nicely into the hands which benefits the wine, as having it a bit warm brings out its flavors.

Flutes for sparkling wine. Photo by CHUTTERSNAP on Unsplash

Champagne, as always, is uncomplicated. It is all about the bubbles and the look. Above we have the classic “flute” for drinking sparkling wines. The idea there is to keep the bubbles in. After all it was the bubbles that made Dom Perignon think he was “drinking the stars.” On the other hand the open bowl champagne glass called a “coupe” is an elegant remnant from old Hollywood movies and a memoire from the life of King Louis XV’s mistress, Mme de Pompadour, for the shape is modeled on the size of her breast. (Whatever were they doing?) Photo credit to Alina Nichepurenko of Unsplash.com

Finally we have those nice, and often very pretty little glasses used for drinking sweet dessert wines or having an after dinner sherry, port, vin santo, etc. For this, one needs only a beautiful glass to hold just a tasteful amount of one of these fortified wines. To top a fine meal off, it would not be out of order to go full Venetian in your choice of glasses, in memory of Tintoretto.

Murano decorated wine glasses Photo credit to picclick.co.uk

Should you decide that you really want a deep dive into wine glasses, here is the website for you, homestratosphere.com, which has an article on 18 types of wine glasses! Should you want to explore the difference that crystal makes over plain glass or heaven forbid plastic, check out this video by Dini Vino on youtube.com

Of course, to experiment with all these choices of wine glasses, it is helpful to have a good source of wines. For that, a wine club comes in handy. Cellars Wine Club offers a variety of choices of clubs, free shipping, a “no bad bottle” return policy, and tasting notes on each wine. Click here CellarsWineClub.c om or go to the Cellars page on this blogsite (right hand column).

Of Art and Wine affiliates with Bluehost.com and CellarsWineClub.com and may earn from qualifying purchases.

Coming Soon: Veronese, the Elegant, Eloquent Sophisticate and Soave, a Still White Wine.

Detail of the painter musicians in Veronese’s The Wedding Feast at Cana 1563.

This detail from the Wedding Feast at Cana is a fascinating story in itself. This little scene centers on four of the famous painters of the mid-16th century in Venice, i.e. Veronese and his homies: Titian, Bassano, Tintoretto. (The one in white and gold, is Veronese, himself.) Veronese was a suave sophisicate and fabulous painter that rounded out the rough edges of Tintoretto, gracefully challenged the success of Titian, and here showed off both his mastery of color and his musical skills. Needless to say, the only Venetian wine that suits him would be Soave.