沉积的耶稣基督 1547、C.出生和名字
维罗纳把平常的名字从他的出生地 维罗纳 ，然后最大占有威尼斯对大陆。在维罗纳的人口普查证明，Veronese出生的时候在1528个石匠，或spezapreda，名叫Gabriele，和他的妻子Catherina。他是他们的第五个孩子。 姓氏是从父亲的职业是很普遍的，因而维罗纳被称为Paolo Spezapreda。他后来改名为Paolo Caliari，因为他的母亲是一个贵族叫Antonio Caliari的私生女。 他最早的画是签署了“P. Caliari F.”的第一个例子中，他用这个姓”，后用“保罗．卡尔亚里”在威尼斯的几年中，经过约1575他继续签约作品“Paolo Caliari”。 他经常被称为“保罗．卡尔亚里”，在上个世纪分辨他和另一位画家来自维罗纳，亚历桑德罗Veronese”，现在被称为 亚历山德罗Turchi （1578–1649）。

青年
 
 Mary Magdalene的转换 1548、C.我apprenticed with by 1541年，维罗纳 安东尼奥·巴蒂雷 ，后来成为他的岳父，和1544是一个学徒 乔凡尼弗朗西斯科胡萝卜素 ；都在维罗纳家。 由Badile绘一个祭坛1543包括引人注目的通道，很可能是他十五岁的学徒的工作；维罗纳的早熟礼品很快就超过了车间级、和1544他不再是居住在该。  虽然在培养训练 怪癖 那么受欢迎 帕尔马 ，他很快就发展了他自己的喜好更容光焕发调色板。

十几岁时他画维罗纳的重要教堂的作品，他在1551被委托的重要威尼斯人度假村分公司 朱斯蒂尼亚尼 家庭对他们的教会教堂的祭坛画 圣弗朗西斯科教堂 ，然后被完全重新设计 桑索维诺 。在同一年，他曾在附近的别墅Soranzo装饰 特雷维索 ，与他的同胞维罗纳 zelotti施洗约翰 和 安塞尔莫canneri ；只有壁画碎片依然存在，但他们似乎已经建立自己的声誉是重要的。的描述 卡罗里多尔菲 近一个世纪之后提到的一个主题是神话 在亚力山大大家庭 ，在维罗纳的宏伟的处理世俗历史的罕见的问题，现在在 国家画廊，伦敦 “。

在1552项基本 ERCOLE冈萨加 执政的大伯父， Guglielmo Gonzaga，Duke of Mantua 委托一个祭坛，为 曼大教堂 （现在 卡昂 维罗纳的画皮，which，法国） 原位 。他无疑是用自己的时间 曼图亚 研究天花板的 Giulio Romano ；这是一个画家，他将天花板壁画最初在威尼斯留下自己的印记，在那里他以他自己永远从次年。

威尼斯
 
 ST的标志 ， 圣塞巴斯蒂安 （1556–57）
 威尼斯维罗纳的房子维罗纳搬到威尼斯在1553获得了他的第一个国家委员会后，天花板的壁画装饰 董事会会议室10 （这个大厅 十理事会 ）和毗邻的 三局室领导 在 总督宫 在新的房间，更换那些迷失在1547火。他的小组 木星驱逐邪恶 前者是现在的 罗浮宫 。然后他画了一个 历史上的埃丝特 在教堂的天花板 圣塞巴斯蒂安 （1556–57）。正是这些天花板画在1557 马尔恰纳图书馆 （为他颁奖的Titian和Sansovino的判断），确立了他在他的威尼斯同时代的大师。 这些作品已经表明维罗纳的掌握反映了微妙的透视图 Correggio 和英雄主义者 米切朗基罗 “。

别墅巴巴罗和食堂的画
1556韦罗内塞委托作画，他的不朽的宴会场景的第一， 在西蒙家里的盛宴 它不会结束，直到1570。由于其分散的组成和缺乏重点，然而，这是他最成功的食堂壁画。 在晚1550年，他圣塞巴斯工作休息期间，维罗纳装饰 巴巴罗别墅 进入 脉泽 新近完成的建筑，由建筑师 安德列帕拉第奥 。壁画设计团结基督教灵性与人文文化；壁画包括Barbaro家族的肖像，和天花板开了蓝色的天空和神话人物。维罗纳的装饰采用复杂的视角 视幻觉法 ，导致发光和灵感的视觉诗。  建筑师和艺术家之间的相遇是一个胜利。

 
 迦纳的婚礼 1563、1562–。 罗浮宫这个 迦南的婚礼 1562，画–1563，还与帕拉第奥合作。它是委托的San吉奥吉奥Maggiore的本笃会修道院的僧侣，在一个小岛上，在Saint Mark，威尼斯。坚持合同上的巨大规模（包括66平方米），以及颜料和颜色质量应该是优质的。例如，合同规定，蓝军应该包含珍贵的矿物天青石合同还规定，绘画应包括尽可能多的数据。有一些肖像画（包括Titian和Tintoretto，以及一个Veronese的自画像）上演在画布表面近十米宽。现场，来自约翰，二新约书，1–11，是由Jesus的第一个奇迹，酒从水的制作，在Cana结婚，Galilee。前台的庆典，腰线最闪闪发光的服饰画人物，两侧是两套楼梯到阳台，罗马柱廊，一片灿烂的天空。

在食堂画，如 在亚力山大大家庭 （1565–1570），  维罗纳安排运行的建筑大多是平行于画面，突出了人物组成的游行。装饰艺术家的天才承认，戏剧性的透视效果会在客厅或教堂被讨厌，和图片的叙述，作为一个丰富多彩的导流吸收最好的可能。 这些画提供情感的代表性小；相反，他们说明仔细组成的运动对象沿主要是水平轴。最重要的是他们的白炽光与色。  这样的视觉效果的提高可能是艺术家的个人幸福感的反映，因为1565维罗纳嫁给了Elena Badile，他的第一个主人的女儿，并且在他最终会有一个女儿和四个儿子。

还画了1565–70之间是他的 Madonna和St. Elizabeth的孩子，婴儿施洗者圣约翰，和圣太 在 铁姆肯公司的艺术博物馆 ，圣地亚哥。圣太一女施主，Padua和威尼斯，是在中心的Blessed Virgin Mother和基督的孩子的权利。相反，一个世纪的意大利作品早期婴儿呈现令人信服的婴儿。是什么让人驻足欣赏这幅画是婴儿伸手去圣太，因为这个年龄的孩子通常会限制他的凝视他的母亲。完成工作是圣伊丽莎白，玛丽和圣施洗约翰的母亲的表姐，位于左。艺术家的微妙平衡的扩展神圣家族的形式并让他们使用暖色和冷色的极好的平衡。

在利维家里的盛宴
在1573 Veronese completed the委员会 在利维家里的盛宴 最后的晚餐，一画为食堂后墙的 圣约翰和保罗大教堂 ，Castello，威尼斯。原标题为 最后的晚餐 ，这幅画是取代Titian的画在火灾烧毁；维罗纳的超大（5.55m X 12.80m）替代描绘的最后的晚餐宴会现场，包括德国士兵，矮人，和动物，人类和动物的新奇事物通常维罗纳的代表性叙事。  艺术， 在利维家里的盛宴 表明维罗纳的技术发展和发光颜色使用强烈的纹理，注意叙事的连贯性，人类情感的急性表现，与心理的微妙的相互作用发生的人物场景中的人群。

 
 在利维家里的盛宴 （1573）以人和动物视为异端的宗教裁判所。审判官们 调查 没有发现异端，但命令保罗．卡尔亚里重新标题绘画以外的东西 最后的晚餐 原来，the title。给这幅画的主题，圣经的最后的晚餐的 人文 人物的描写缺乏虔诚平常 罗马天主教艺术 描绘基督的性格和他的生活事件；及 探究 很容易发现，维罗纳的irreligiosity。由世纪七十年代，在神学 反宗教改革 给罗马天主教在威尼斯的法律权威，这是一个新的，一个艺术家如维罗纳政治发展。专业，在 威尼斯共和国 –后期的复兴，对艺术家来说，绘画的群众场面已经获得政治后果对于谁和什么出现在委托他的宗教画，无论顾客或赞助人。

一年前，本笃会僧侣委托 迦纳的婚礼 （1563）曾执导维罗纳，作为一个艺术家，自由包括许多人物将适合在宴会现场。相反，十年后，维罗纳遇到法律，宗教的约束，确定适宜性（神学、政治、社会学）谁和他所描绘的绘画中，因此，在七月18日1573，探究依法传唤维罗纳法庭，解释什么是教会的教义特点，存在的动物，和失礼额外的图像 耶稣基督的最后的晚餐 “。

这位画家Veronese法庭的审讯是警示性的，而不是惩罚性；政治，而不是司法；尽管如此，Veronese的inquisitiors解释说，“我们画家采取相同的自由作为诗人和疯子”讲故事。虽然宗教裁判所的法庭命令维罗纳重绘的最后的晚餐的场景，他反对他们的救济他的神学的罪行，但被迫重新标题从圣事的画 最后的晚餐 到 在利维家里的盛宴 “。 一个艺术家，如保罗．卡尔亚里，曾成功持久对探究的隐含的指责 异端 ，表明他有一个谨慎的政治支持 贵族 的艺术赞助人。
 

 英仙座和仙女座 （1576–78）一个艺术家的传记，保罗．卡尔亚里被列为第二版 最优秀的画家、雕塑家和建筑师的生活， （1568年），由 瓦萨里 ，一种改进的画家覆盖 佛罗伦萨学院 “。

一个完整的传记维罗纳不得不等待 奇观的艺术：生活的杰出画家，威尼斯和状态 （1648年），由 卡罗里多尔菲 ，汇编的 威尼斯画派 画家。Ridolfi说，画中的画 在利维家里的盛宴 （1573）是“到目前为止，我们对他的艺术最重要的知识来源，”因为“它放任的快乐，让美丽雄伟，让笑声，本身，更多的欢乐。”

此外，在 画在卢浮宫 （1987）， 劳伦斯高温 是保罗．卡尔亚里的艺术成就是现代评价：

法国没有怀疑，正如评论家 戈蒂埃 写在1860，，维罗纳是最大的调色师曾经住过比Titian，鲁本斯，或伦勃朗，因为他建立了自然色调的建模在黑暗与光明中，保持学术明暗法的和谐。德拉克鲁瓦写道，Veronese光无暴力的对比，“我们所说的是不可能的，保持色调的阴影”的力量。

这种创新不能更好地描述。维罗纳的户外明亮的和声，第十九世纪的启发和灵感。他是现代绘画的基础。但是，无论他的风格其实是自然的，因为 印象派画家 思想，或最微妙和美丽的想象力的发明必须保持各年龄回答自己的问题。
工作实践
除了天花板和壁画创作，画中还制作祭坛画（ 圣·尼古拉斯的奉献 1561–，2，伦敦 国家画廊  ），对神话题材的油画（ 金星和Mars ，1578，纽约 大都会艺术博物馆  [ 29 ] （），和肖像 一位女士的画像 ，1555， 罗浮宫 ）。构图素描笔数量可观，水墨，用粉笔图研究，并 明暗对照法  型号 和 里科尔迪 生存。

他领导的家庭作坊，包括他的弟弟 贝内代托 （1538–98）以及他的儿子 卡洛 和 加布里埃尔 ，和他的侄子 路易吉benfatto （也叫达尔Friso；1559–1611），保持活跃的十年在1588左右在威尼斯去世后，签约工作的“Haeredes Pauli”（“继承人Paolo”），并继续用他的绘画。根据 潘尼 ，“研讨会的作用似乎已稳步上升，并在1580这是罕见的，我们可以相信维罗纳的是唯一的方面”。  在他的学生，他的当代 zelotti施洗约翰 后来， 只有约翰安东尼 ， 基思蒙斯蒂芬尼 ，和 安塞尔莫canneri “。 Caliari家族继续和另一个Paolo Caliari发表第一 专著 1888在他的祖先。

Deposition of Jesus Christ 1547, C. birth and name
Verona put the usual name from his birthplace in Verona, then the largest possession of Venice to the mainland. In Verona census, Veronese was born in 1528 in Mason, or spezapreda, named Gabriele, and his wife Catherina. He was their fifth child. Surname is from the father's occupation is very common, so Verona is called Paolo Spezapreda. He was later renamed Paolo Caliari, because his mother was a nobleman named Antonio Caliari sishengnv. His earliest painting is signed "the first example of P. Caliari F.", he used the name "Paul", after Carle in Asia "in Venice for several years, he continued to work after about 1575 signed" Paolo Caliari". He is often referred to as "Paul," in the last century, he and another painter from Verona, Veronese, "now known as the Turchi of Alessandro (1578 - 1649), ().
Youth
Mary Magdalene 1548 C., the conversion of apprenticed I with by 1541, Veronaantonio Badile, who later became his father-in-law, and the 1544 is an apprentice Giovanni Francesco carotene in Verona home. Painted by Badile, an altar 1543 includes a striking passage that is likely to be the work of his apprenticeship at the age of fifteen; Verona's precocious gifts soon exceeded the workshop level, and the 1544 he was no longer living in the. Although the training quirks so popular in Parma, he soon developed his own preference for a more radiant palette.
As a teenager he painted an important church in Verona works, he branch of the Giustiniani family in Venice an important resort 1551 entrusted to their church altar of San Francesco church, and was completely redesigned sansovino. In the same year, he was in the vicinity of the villa decoration of Treviso Soranzo, Verona zelotti and his fellow John the Baptist and Ansel canneri; only the murals still exist, but they seem to have established their reputation is important. After the description of Carlo Ridolfi nearly a century a theme mentioned is the myth in Alexander greatly family, a rare problem in Verona's grand secular history, now in the National Gallery, london".
In the 1552 great uncle, ERCOLE Gonzaga ruling Guglielmo Gonzaga, Duke of Mantua commissioned an altar for Manchester Cathedral (now Verona painted which, Caen, France) in situ. He is in my own time on the ceiling of the Giulio Romano of Mantua; this is a painter, he will leave his mark first ceiling mural in Venice, where he was in his own forever from the following year.
Venice
ST sign, St. Sebastian (1556 - 57)
Venice Verona house in Verona and moved to Venice and got his first National Committee in 1553, the ceiling mural decoration board room 10 (the ten Council Hall) and the adjoining three room office leadership in the Doge's palace in the new room, replacing those lost in the 1547 fire. His team is now the former Jupiter to banish evil louvre. Then he drew a history of Esther in the church ceiling of St. Sebastian (1556 - 57). It is the ceiling painting in 1557 marcina Library (Award for his Titian and Sansovino judgment), established him in his Venice contemporary masters. These works have shown that Verona mastery reflects figure Correggio and heroism Michelangelo subtle perspective".
Villa Barbaro and cafeteria painting
1556 Veronese commissioned to paint his immortal banquet scene first, at the feast of the Simon house it will not end until the end of the 1570. Due to its decentralized composition and lack of focus, however, it was his most successful cafeteria mural. In late 1550, during his work for San Sebastiano rest, Verona decoration into the villa Barbaro maser recently completed building, by architect Andre Palladio. The murals are designed to unite the Christian spirituality and human culture; the murals include portraits of the Barbaro family, and the ceiling of a blue sky and mythological figures. Verona's decoration uses a complex visual angle of vision, leading to luminous and inspired visual poetry. The encounter between architects and artists is a triumph.
The wedding, 1562 - 1563. The Louvre Canaan wedding 1562, painting - 1563, also in cooperation with Palladio. It was commissioned by San Giorgio, a Benedictine monastery monk, on an island in Saint Mark, Venice, Maggiore. Adhere to the contract on a large scale (including 66 square meters), as well as pigment and color quality should be high quality. For example, the provisions of the contract, the blues should contain the precious mineral celestite contract also stipulates that the painting should include as much information as possible. There are a number of portraits (including Titian and Tintoretto, as well as a self portrait of Veronese) staged on the canvas surface of nearly ten meters wide. The scene, from John, the two New Testament, from 1 to 11, was produced by Jesus's first miracle, the wine from the water, the Cana wedding, Galilee. The celebration of the waistline figures painted in the most shimmering finery, is on both sides of the two sets of stairs to the balcony, the Rome corridor, a brilliant sky.In the dining room in the painting, such as Alexander greatly (1565 - 1570) family, Verona scheduled to run most of the buildings is parallel to the screen, prominent figures parade. The genius of the decorative artist admits that the dramatic perspective effect will be hated in the living room or church, and the narrative of the picture, as the best possible diversion of a colorful diversion. These paintings provide an emotional representation of small; on the contrary, they illustrate the careful composition of the moving object along the main horizontal axis. The most important thing is their incandescent light and color. This visual effect enhancement may reflect the artist's personal happiness, because the 1565 Verona married Elena Badile, the daughter of his first master, and have a daughter and four sons in his will.
Drew 1565 - 70 between Madonna and St. Elizabeth is his child, baby Saint John Baptist, and St. too The Timken Company in the art museum, Santiago. Too much of a saint female donor, Padua and Venice, is in the center of the Blessed Virgin Mother and the children of Christ's rights. In contrast, a century of Italy works of early infancy presents a convincing infant. What makes people stop to appreciate the painting is that the baby reaches out to the holy too, because the child of this age usually limits his gaze to his mother. Work is St. Elizabeth and John the Baptist, Marie's mother's cousin, is located on the left. Excellent artists the delicate balance of expansion of the holy family form and keep them warm and cool the balance.
A feast at Levi's house
In the 1573 Veronese completed the Committee at the Levi home feast of the last supper, a painting for the cafeteria of the back wall of Saint John and the Cathedral of, Castello, Venice. Original title for the last supper, the picture is to replace the Titian painting in the fire; Verona super (5.55m X 12.80m) instead of depicting the last supper of the banquet scene, including German soldiers, dwarves, and animal, representative narrative novelty of human and animal usually in Verona. Art, in the Levi family feast that technology development in Verona and the light color with strong texture, narrative coherence, acute presentation of human emotions, and psychological interaction of subtle characters in the scene crowd.
A feast at Levi's house (1573) a religious tribunal that is regarded as heretical by people and animals. The judges investigation found no heresy, but ordered Paul. Carle Cagliari re Title painting something other than the last supper of the original, the title. To the theme of this picture, the last supper of the humanities character description usually lack of piety Rome Catholic art depicting the character of Christ and his life events; and the inquiry is very easy to find, Verona irreligiosity. By the turn of the century, in 70s, the theological Counter Reformation gave Rome the authority of the Catholic Church in Venice, which was a new, an artist such as the political development of Verona. Professional, in the revival of the Republic of Venice - later, for artists, painting scenes have political consequences for people who and what appeared in his religious paintings commissioned, regardless of the customer or sponsor.
A year ago, the Benedictines commissioned by the Ghana wedding (1563) had directed the Verona, as a free artist, including many characters will fit in the banquet scene. On the contrary, after ten years, Verona encountered legal, religious constraints, determine the suitability (Theology, politics, Sociology) and who he described in painting, therefore, in July the 18th 1573, the Verona court of inquiry summoned according to law, explain what is the characteristic doctrine of the church, the presence of the animal, and disrespectful additional images of Jesus Christ's last supper".
The painter Veronese court is a warning, not punitive; political, not judicial; nevertheless, Veronese inquisitiors explained, "we painters take the same liberties as a poet and a madman" story. Although the inquisition court ordered Verona to redraw the last supper scene, he opposed his theological relief their crimes, but was forced to re Title feast in the Levi family from the sacrament of the last supper to draw". An artist such as Paul. Carle, who long inquiry implied accusation of heresy, that he has a cautious political support of aristocratic patrons of art.

Perseus and Andromeda (1576 - 78) a biography of the artist, Paul. Carle is listed as the most outstanding painter, sculptor and architect of the second edition of life (1568), by Vasari, an improved painter covering Florence college".
A complete biography of Verona had to wait for the wonders of Art: the outstanding painter of life, and the state of Venice (1648), by Carlo Ridolfi, the compilation of the Venice painters. Ridolfi said the pictures in the house of Levi feast (1573) is "so far, we are the most important source of knowledge of his art," because "it let happiness, let the beautiful and magnificent, let the laughter itself, more joy."
In addition, in the painting in Le Louvre Museum (1987), Laurence high temperature is the artistic achievement of Paul. In the field of modern evaluation of the arts of the world in the works of the Chinese Academy of Sciences in the field of modern science and technology in the world:
France is no doubt, as the critic Gautier wrote in 1860, Verona is the largest colorist once lived than Titian, Lubensi, or Rembrandt, because he has established the natural tone of modeling in dark and light, keep the harmonious academic chiaroscuro. La Croix Veronese wrote that the contrast of light without violence, "we say it is impossible to keep the tone, the shadow of" power.
This innovation cannot be described better. Verona's outdoor harmonies, inspired and inspired by the nineteenth century. He is the foundation of modern painting. However, no matter what his style is actually natural, because the impressionist painter thought, or the most delicate and beautiful imagination of the invention must be maintained at all ages to answer their own questions.
Work practice
In addition to the ceiling and mural painting, also made the altar painting (San Nicholas's dedication 1561 - 2, London, National Gallery), the mythology of painting (Venus and Mars, 1578, Metropolitan Museum of Art in New York [29] (), and a portrait of the portrait of a lady, 1555, Louvre). The number of composition sketch pen is considerable, ink and wash, with chalk map, and the comparison of the model and Ricordi survival.
He led the family, including his brother Benedetto (1538 - 98) and his son Carlo and Gabriel, and his nephew Luigi benfatto (also called Dahl Friso; 1559 - 1611), remain active for ten years at around 1588 died in Venice after signing the "Haeredes Pauli" ("heir Paolo"), and continue to use his painting. According to Pani, "the role of the seminar seems to have been steadily rising, and in 1580 it is rare that we can believe that Verona is the only aspect". In his class, his contemporary zelotti John the Baptist later, only John Anthony, Keith, Mon Stephanie, and Ansel canneri". The Caliari family continues and another Paolo Caliari published the first monograph 1888 in his ancestry.