The Cover Section Editor: M. Therese Southgate,
MD, Senior Contributing Editor.
In Venice, they knew him as Paolo from Verona and, hence, called him
Veronese, but sometime after he became famous for decorating the Doges' Palace
and some churches in the area, he adopted the name of a noble family from
Verona and became Paolo Caliari (1528-1588). The original Caliaris need not
have feared that this son and grandson of stonecutters would dishonor their
name: it became, in fact, the name of a dynasty of painters that included
not only Paolo but his brother Benedetto, his sons Carlo and Gabriele, and,
into the 19th century, a descendant named Paolino and his son Giovanni Caliari.
Paolo is probably the chief reason the name is remembered today at all. He
was and remains the most famous of the Caliaris. Along with Tintoretto, his
senior by 10 years, and the aged but vigorous Titian, he ruled Venetian art
of the Late Renaissance period. Moreover, his influence is still felt. He
left his mark on Tiepolo, and much French art of the late 19th century. Delacroix's Journal was confidant to his thoughts on Caliari's color.
Fantin-Latour and Berthe Morisot (thanks to Napoleon) were able to copy him
in the Louvre, and Renoir made a point of seeing his paintings when he was
Southgate MT. The Creation of Eve. JAMA. 2000;283(1):13. doi:10.1001/jama.283.1.13
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