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Rating: Paolo Veronese-The Illusion of Reality. Verona, Palazzo della Gran Guardia: July 5, 2014-October 5, 2014
It's not quite clear to me why, in a year when there is no particular anniversary related to Paolo Caliari, known as Veronese, after the monographic exhibition at the National Gallery, this 2014 still offers a dense calendar of events dedicated to the great Renaissance painter: "his" Veneto, indeed, is currently hosting and will host in the coming months a series of exhibitions distributed in the territory with such a wide scope that they highlight the uniqueness of the event and make me forget and overlook the trifle of missing chronological motives. The agenda opens with two exhibitions held simultaneously: the one under review and a smaller but still interesting one in Vicenza.
There are just under a hundred works present at the Exhibition of Palazzo della Gran Guardia, and they come from both the most prestigious European galleries and places of worship (such as "The Adoration of the Magi" which is particularly dear to me because it is located in the Temple of Santa Corona in Vicenza) or civil (for example "The Rape of Europa" from Palazzo Ducale in Venice) public and private.
The exhibition is organized according to a more Northern European than Italian criterion, namely with a very thematic and little chronological philology, providing each room with a point of reflection that characterized the artist: Veronese and the close relationship with contemporary architecture (especially with Palladio), the painter and the connection with the patronage, with works of religious themes, and so on. It is an interesting path that brings out aspects of Veronese usually more hidden but no less interesting (and the presence of the newly restored "The Feast in the House of Levi" by "haeredes" highlights, for example, the relationship with the workshop and its collaborators). The explanatory part is well curated and precise with many signs also dedicated to the younger (in age) as well as the service of audioguides (with interesting explanations by the exhibition's curators and the origin places of the works) which is included in the ticket (twelve euros but well spent in my opinion).
A personal tip is to first take a quick tour (but not too quick: look, don't just see) and then decide on four or five works to focus more time and attention on: I dare suggest among others "The Mystic Marriage of Saint Catherine".
Mo.
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