The wedding at Cana

 Paolo Caliari o Paolo Veronese.  (Verona 1528-Venecia 1588)

It would be strange to think that someone who goes to Paris for the first time has not scheduled a visit to Louvre Museum. Who has not dreamed of seeing the Venus de Milo, photographing Hammurabi code, or meet face to face with the mysterious smile lady, but few have warned that a priori the existence of this sensational box Veronese. When the expectation that unleashes the portrait of Leonardo has declined, the visitor continues the tour of the room and wonder again cause it’s impressive picture of the wedding at Cana, located directly across from La Gioconda.

The Wedding at Cana was commissioned  by the Benedictine monks for the San Giorgio Maggiore Monastery on a small island across from Saint Mark’s, in Venice. The painter would receive 324 ducats and several jars of wine. The painting was exhibited in the refectory of the convent 235 years until it was seized by Napoleon in 1797 during the Italian campaign and since then is in Paris.

Surprise turn and find the image of Jesus in the center of the table as the only figure facing the viewer. Painted in 1563, with almost 10 meters long and 7 meters wide, the subject, contained in Gospel of Johnrepresents the first miracle that Jesus performed when coupled with the Virgin Mary and some of the disciples were invited to a wedding celebration in Cana (Galilee). At a time of the feast, Jesus transformed water into wine.

Most of the characters depicted in this work, except for the figure of Christ, are portraits: Don Alfonso Davalos represented as boyfriend, Eleanor of Austria and his wife, or you can see Mary of England and Francis I, Charles V and to Suleiman I. So, are represented all time greats.

The uniqueness of the painting is that Veronese was able to represent the religious scene in the New Testament the style of a Venetian celebration with political society of his time, as evidenced in the sumptuous vestments, the ornamentation of the scenery and splendor surrounding architectural character. All this expectation contradicts the Gospel story as the scene expresses more a pagan holiday that religious feeling, which caused a conflict between the painter and the Catholic Church.

The Veronese  was immortalized in playing the viola in a white robe against Titian (Tiziano Vellecio) playing the bass wearing red tunic. Tintoretto playing the viola and secondly Bassano is the flutist. In the composition figures are represented over 130.

 In Spanish: http://www.enmiscriptorium.com/?p=1475

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