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Veronese Masterpieces in Colour Series - François Crastre
The Project Gutenberg eBook, Veronese, by Fr. (François) Crastre, Translated by Frederic Taber Cooper
This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org
Title: Veronese
Masterpieces in Colour Series
Author: Fr. (François) Crastre
Release Date: February 3, 2013 [eBook #41974]
Language: English
Character set encoding: ISO-8859-1
***START OF THE PROJECT GUTENBERG EBOOK VERONESE***
E-text prepared by sp1nd
and the Online Distributed Proofreading Team
(http://www.pgdp.net)
from page images generously made available by
Internet Archive
(http://archive.org)
MASTERPIECES
IN COLOUR
EDITED BY . .
M. HENRY ROUJON
VERONESE
(1528-1588)
IN THE SAME SERIES
IN PREPARATION
PLATE I.—JUPITER DESTROYING THE VICES
(In the Musée du Louvre)
This large composition shows a method rarely employed by Veronese. The great imaginative artist here tried his hand at the more vigorous school of painting, and with complete success. It is especially admired for certain remarkable effects of foreshortening. This picture, painted for the Ducal Palace, served as a ceiling decoration in Louis XIVth’s chamber at Versailles, until it was finally transferred to the Louvre.
VERONESE
BY FRANÇOIS CRASTRE
TRANSLATED FROM THE FRENCH
BY FREDERIC TABER COOPER
WITH EIGHT FACSIMILE
REPRODUCTIONS IN COLOUR
FREDERICK A. STOKES COMPANY
NEW YORK—PUBLISHERS
COPYRIGHT, 1912, BY
FREDERICK A. STOKES COMPANY
THE·PLIMPTON·PRESS
[W·D·O]
NORWOOD·MASS·U·S·A
CONTENTS
LIST OF ILLUSTRATIONS
INTRODUCTION
It has been said of Veronese that he was the most absurd and the most adorable of the great painters. Paradoxical as it sounds, this judgment is perfectly true. Absurd, Veronese undoubtedly was, in his disdain of logic and common sense, in his complete indifference to historic truth and school traditions, and in his anachronistic habit of garbing antiquity in modern raiment. I paint my pictures,
he said, without taking these matters into consideration, and I allow myself the same license which is granted to poets and to fools.
And it is precisely his riotous fantasy, his
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