active around 1333 -1358 · Venice, Adriatic and Gothic painting

Gold backgrounds, Gothic elegance and Byzantine heritage make Paolo Veneziano the great renovator of 14th century Venetian painting.

Paolo Veneziano, or Paolo da Venezia, was active between 1333 and 1358 and died before 1362. Son of the painter Martino, he directed the most prestigious workshop of his time in Venice with his sons Giovanni, Luca and Marco. His altarpieces were commissioned for the large churches of the lagoon, the Venetian mainland, Bologna and the cities of the Adriatic coast as far as Dalmatia. His language was born at the crossroads of several traditions. The gold backgrounds, frontal faces and solemnity of icons recall Byzantium; The gold backgrounds, frontal faces and solemnity of icons are reminiscent of Byzantium; the gold backgrounds, the frontal faces and the solemnity of the icons recall Byzantium; Its language is born at the crossroads of several traditions. The gold backgrounds, frontal faces and solemnity of icons recall Byzantium; the flexibility of the silhouettes, the refined colors and the solemnity of the icons are reminiscent of Byzantium; the gold backgrounds, the frontal faces and the solemnity of the icons recall Byzantium; the gold backgrounds, the frontal faces and the solemnity of the icons recall Byzantium; the gold backgrounds, the frontal faces and the solemnity of the icons recall Byzantium; the gold backgrounds, the emotion. The Crucifixion brings together figures around Christ whose inclinations and hands make mourning immediately legible. The Annunciation organizes the sacred encounter through architecture and line. In the fragment of croce dipinta, the body of Christ remains the absolute center of devotion. In 1345, Paolo and his sons signed the Pala feriale, the painted cover of the Pala d'Oro of Saint Mark. The work summarizes its role: preserving Venetian majesty while giving the figures a new humanity. In 1345, Paolo and his sons signed the Pala feriale, the painted cover of the Pala d'Oro of Saint Mark. The work summarizes its role: preserving Venetian majesty while giving the figures a new humanity. The "Paolo Veneziano" selection notably compares The Annunciation and The Crucifixion. Its reading favors space.

Paolo Veneziano makes devotion sparkle: gold retains the majesty of the icon while the Gothic gesture brings the figures closer to the faithful.