The Anointment of David (1550/1560) by Paolo Caliari, called VeroneseKunsthistorisches Museum Wien
'To realise his Mannerist principles, he used the landscape format in the following narrative strategy: in front of a dark background and without any attempt to create greater depth, Veronese has grouped the actors tightly, overlapping them and creating surprising relationships.'
The Consecration of Saint Nicholas (1562) by Paolo VeroneseThe National Gallery, London
'Veronese shows the moment of Nicholas's recognition -- or subsequent consecration -- with an angel above bringing his bishop's stole, crozier and mitre.'
The Mystic Marriage of Saint Catherine and other studies (circa 1568 - 1569) by Paolo VeroneseMuseum Boijmans Van Beuningen
'Veronese experimented with the composition and the figures, covering the whole page.'
The Dream of Saint Helena (about 1570) by Paolo VeroneseThe National Gallery, London
'Derived from a more harmoniously composed design by Raphael, known through a number of prints, Veronese's picture diverges from its source in its dramatic cropping and the unusual, knotty grouping of the angels and the cross at the top.'
The Madonna of the Cuccina Family (around 1571) by Paolo VeroneseOld Masters Picture Gallery, Dresden State Art Museums
'Along with Titian and Tintoretto, Veronese formed the great triple star of Venetian painters of the 16th century.'
Mars and Venus United by Love Mars and Venus United by Love (1570s) by Paolo Veronese (Paolo Caliari)The Metropolitan Museum of Art
'Veronese was among the greatest masters of light and color, and his work had an enduring impact on later artists, from Annibale Carracci and Velázquez to Tiepolo.'
'Although hastily sketched in ink, Paulo Veronese took care to consider the pose, gesture, and especially the dress.'
The Baptism of Christ (Main View (composite))The J. Paul Getty Museum
'Paolo Veronese used rich, luminous color and vibrant light to animate the scene.'
The Rape of Europa (about 1570) by Paolo VeroneseThe National Gallery, London
'Europa is depicted in a state of partial undress, with her yellow mantle and belt lying on the ground.'