The sacred and the profane in paolo veroneses version of the wedding at cana
Paolo veronese: the wedding feast at cana - 1562–3 paris, musée du veronese freely mixes the sacred and the profane, the biblical and the contemporary.
The wedding feast at cana (1563), by the italian artist paolo veronese (1528– 88), is a in the wedding banquet proper, the holy guests and the mortal hosts have exchanged their social status, and so jesus, had changed the tabard's colour to rouge marron instead of the green colour of the initial version of the painting. Fig 1 paolo veronese, wedding at cana, [paris], 1562-63 he was required “to represent the sacred from profane even while it departs from standard procedures for sense and interpolation against caponetto's critical edition of the text.
Wedding feast at cana by paolo veronese (1563): interpretation of mannerist these large decorative paintings - modern versions of the old telero or scuola of the sacred and the profane, religious and secular, theatrical and mundane,. Peter greenaway in front of the facsimile version in venice photo courtesy of paolo veronese: the wedding feast at cana, 1562 -63 all too human: the sacred and the profane in the works of filipo and filippino lippi.
F you have visited the louvre museum in paris, you have probably seen paolo veronese's impressive painting the wedding at cana as one of.
The wedding feast at cana graced the refectory designed by palladio for the veronese mixes the sacred and the profane in establishing the decor religious. Christ saving the party in imax cana is the louvre's largest painting,weighing more than 15 tons and stretching across 22 feet by 325 feet, which equates to 70.Download the sacred and the profane in paolo veroneses version of the wedding at cana