Italian painter of the Renaissance (1528-1588)
Testimony to the Inquisition, (1573)Edit
Testimony to the Inquisition in Venice (18 July 1573) as translated by Charles Yriarte
- We painters use the same license as poets and madmen.
- Unsourced variant translation: We painters take the same liberties as poets and madmen.
- I paint my pictures with all the considerations which are natural to my intelligence, and according as my intelligence understands them.
- Unsourced variant translation: I paint my pictures with such judgment as I have and as seems fitting.
- I had not thought that I was doing wrong; I had never taken so many things into consideration.
Quotes about VeroneseEdit
- Titian, Tintoretto, and Paul Veronese absolutely enchanted me, for they took away all sense of subject. ... It was the poetry of color which I felt, procreative in its nature, giving birth to a thousand things which the eye cannot see, and distinct from their cause.
- Washington Allston, as quoted in The Quotable Artist (2002) by Peggy Hadden, p. 20
- Paolo Veronese was both a brilliant colourist and a superb organizer of forms... He handles colour marvellously, especially colours like rose, gold, blue and flesh. His is the energy of the 7th ray and those who are interested in painting may find inspiration from the colour and organization of all his painting. Clarity, a sense of ease, is always evident in his art. There is breadth and simplicity; also glamorous splendour in the Venetian sense: luxury, ease and grandeur. Paolo Veronese was a third-degree initiate. He is now a 7th ray Master and will be very active in the world in the New Age. He will be in charge of, and the inspiration behind, the first 70 or 80 years of the New Age architecture and so will powerfully affect the architecture of the next 150 years or so. He is already drawing up His plans.
- Benjamin Creme in Maitreya's Mission Vol. III (1997) p. 409
- There are three Venetians that are never separated in my mind — Titian, Veronese, and Tintoret.
- John Ruskin, in Art Culture : A Hand-Book of Art Technicalities and Criticisms (1877), p. 9