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

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.

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.

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.

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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.

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.”

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

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.

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.

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.

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, 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.