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Surrounding the table where the three protagonists sit are over a dozen members of an aristocratic
Venetian family, in sixteenth-century dress, and their servants. On the floor kneel three children, petting dogs; several other young children stand. A mother holds an infant; her husband stands behind
281:
The Louvre was sharply criticized by art conservationists in France, the UK, and the U.S. for a series of alterations it made to the painting from 2003–2004 and again in 2009. In addition to removing the folds of the mother's dress and of the disciple Luke's cloak in 2004, extensive alterations were
347:
The former softly turned, downward pointing nostril has been obliterated and replaced by an impossibly sharp-edged upper aperture that ends abruptly. This new not-nostril is horizontal, not downwards sloping, and it connects to a now fuzzed and mutilated nose tip that hovers disconnectedly over an
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This aesthetic manipulation is all the more grievous since the character of the mother is crucial in the composition intended by
Veronese, who had painted more than a mere portrait of Venetian women. With her noble face and meditative look, this mother, carrying her newborn with his golden locks,
325:
in 2009. The Louvre subsequently made secret undisclosed additional changes to the face, in an apparent attempt to hide the mistakes, in
September 2009 days before its "Titian, Tintoretto, Veronese" exhibition. These 2009 alterations were neither disclosed nor noted in the painting's restoration
352:
Daley said that the covert 2009 correction showed an attempt to undo some of the errors, but others were introduced: "The tip of the nose has been turned down once again, but it has also been sharpened" and has a "grotesquely large nostril", and the lips have become "swollen and formless".
334:, "he previously messed mouth has been blurred, not corrected. The nose had been given an awkward point and a baffling enlarged new nostril, while the cheek remains puffed. This remains another alien 21st century version and, as such, it further dishonours Veronese’s painting."
177:– and being finally recognized by two of his disciples who were on a pilgrimage to Emmaus, as he blesses the bread at a meal they had invited him, an apparent stranger, to. On the far left of the painting is a distant depiction of the journey to Emmaus; it includes the
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them, and two other gentlemen, possibly his brothers, are in the group. The setting is a classical palace. Apart from the three biblical protagonists and a servant waiting on them, the atmosphere appears secular rather than devotional.
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he
Venetian mother, with her noble and mature features and slightly melancholic look, has become a caricature of a 21st century adolescent with her awkward pout, her stiff expression, and obesity a-waiting.
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369:, acquired in 1799. The two paintings have neutral backgrounds which remove traces of other characters. They may have been painted by François Stiémart (1680–1740), although this is highly uncertain.
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anatomical void. The head had been given a blander, puffed-out balloon-like quality. There was no evidence or authority for these changes in the photograph of the cleaned-but-not-yet-restored state.
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is the first of
Veronese's biblical feast paintings portrayed as large, elaborate anachronistic group portraits in dramatic architectural settings. Subsequent examples include
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391:, one much smaller. This later painting portrays only three peripheral adults in addition to the four protagonists, plus a young girl on the floor holding a dog.
305:", who appears frequently in sacred iconography since the 13th century. Her husband stands behind, in an unassuming position attributed to Joseph in images of the
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In
December 2010, Michael Daley, director of ArtWatch UK, supplied four successive photographs of the mother's face in the painting to
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857:"A spectacular restoration own-goal: undoing, re-doing and (on the quiet) re-re-doing a Veronese masterpiece at the Louvre Museum"
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Two paintings which are copies – one of the two girls and one of the two boys – of the children playing with the two dogs in
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history file. Favre-Félix spotted the new undisclosed changes and posted an extensive analysis in the 2010–2011 edition of
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917:(in French) (42/43). Association Internationale pour le Respect de l’ Intégrité du Patrimoine Artistique: 1–6.
895:(in French) (38/39). Association Internationale pour le Respect de l’Intégrité du Patrimoine Artistique: 1–10.
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181:, an ancient Roman edifice. As he blesses the bread and gazes heavenward, Christ's head has a delicate halo.
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evidently symbolised the Virgin Mary and Child. Protecting the little boy behind her cloak, she evokes the "
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402:, Netherlands, which acquired it in 1958. According to the museum's website, the painting is in storage.
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Favre-FĂ©lix's detailed 2007 descriptions of the various changes to the mother's face were reported in
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This painting is 66×79 cm (26×31 in), was probably painted circa 1565–1570, and is held by the
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The architecture of the supper setting is striking, with four large classical columns and a
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Concerning the 2003–2004 restorations, in 2007 Michel Favre-Félix, president of the
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Association
Internationale pour le Respect de l’Intégrité du Patrimoine Artistique
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241 cm Ă— 415 cm (7.91 ft Ă— 13.62 ft)
399:
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144:). Painted circa 1559 or 1560, it is a reworking of the Gospel story of the
245:(1578–1638), and after his death it was one of his collection to pass to
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The painting is owned by the government of France, and is part of the
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door frame behind Christ. The painting was likely commissioned for a
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made to the nose, mouth, and face of the mother in 2004 and 2009.
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791:"Louvre masterpiece by Veronese 'mutilated' by botched nose jobs"
528:"A guide to the works of the major Italian Renaissance Painters"
1020:
196:, the large and elaborate entrance hall of a Venetian palace.
851:
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Holy Family with Saint
Catherine and Saint John the Baptist
964:"Deux petits garçons et un chien (copie d'après Véronèse)"
934:"Deux petites filles et un chien (copie d'après Véronèse)"
167:
is a large 241Ă—415 cm (8Ă—14 feet) oil painting on canvas.
610:"Veronese: Magnificence in Renaissance Venice – review"
582:"A Pair of Exhibitions Celebrate an Italian Old Master"
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330:. In late 2010 he also wrote in the online journal of
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819:"King Tut's broken beard and other art disasters"
226:collection. It was formerly a possession of the
1115:Portrait of Iseppo da Porto and his son Adriano
532:Cavallini to Veronese - Italian Renaissance Art
345:
295:
233:In 1635 the painting was recorded as owned by
128:) is a painting by Italian Renaissance artist
1032:
463:"The Story in Paintings: A Feast of Veronese"
249:(1585–1642). Richelieu bequeathed it to King
152:as a 16th-century Venetian family gethering.
8:
1275:The Feast in the House of Simon the Pharisee
1227:The Feast in the House of Simon the Pharisee
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343:and stated that after the 2004 restoration:
211:The Feast in the House of Simon the Pharisee
170:It depicts the biblical Gospel story of the
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1554:Paintings in the Louvre by Italian artists
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257:. It was later successively moved to the
1147:Portrait of a Young Man Wearing Lynx Fur
387:Later in life, Veronese painted another
380:, painted c. 1565–1570, and held by the
1259:Resurrection of the Widow of Nain's Son
1095:Minerva between Geometry and Arithmetic
580:Morris, Roderick Conway (15 May 2014).
411:
1251:The Family of Darius Before Alexander
886:"Repenser le nettoyage des peintures"
552:Cranfield, Nicholas (17 April 2014).
241:. It was given shortly thereafter to
136:, where it is housed, it is known as
7:
1387:Saint Anthony Preaching to the Fish
1355:Mars and Venus with Cupid and a Dog
554:"Master of detail and architecture"
1347:Judith with the Head of Holofernes
1339:Mystic Marriage of Saint Catherine
1087:Mystic Marriage of Saint Catherine
645:in Sixteenth-Century Venetian Art"
14:
1549:Paintings of the Supper at Emmaus
1520:âś» attributed to Veronese's studio
1299:Allegory of the Battle of Lepanto
906:Favre-Félix, Michel (2010–2011).
1171:Saint John the Baptist Preaching
1131:Portrait of a Gentleman in a Fur
1063:The Conversion of Mary Magdalene
908:"Recherches sur la régénération"
608:Cumming, Laura (22 March 2014).
243:Maréchal Duc Charles I de Créquy
237:(1587–1637) at his residence in
1219:Allegory of Wisdom and Strength
789:Alberge, Dalya (12 June 2010).
639:Schmitter, Monika (Fall 2011).
235:Victor Amadeus I, Duke of Savoy
175:appearing on the road to Emmaus
1323:The Martyrdom of Saint Justina
1315:The Feast in the House of Levi
1291:Portrait of Agostino Barbarigo
1090:(New Haven; c. 1547–1550)
817:Shute, Joe (24 January 2015).
688:"Titian, Tintoretto, Veronese"
1:
1267:Madonna and Child with Saints
1235:The Martyrdom of Saint George
999:Museum Boijmans Van Beuningen
396:Museum Boijmans Van Beuningen
382:Museum Boijmans Van Beuningen
367:Musée des Beaux-Arts de Dijon
1071:Bevilacqua-Lazise Altarpiece
884:Favre-FĂ©lix, Michel (2007).
1544:Paintings by Paolo Veronese
1243:Portrait of Daniele Barbaro
1211:Allegory of Virtue and Vice
1079:Lament over the Dead Christ
208:(1563) and two versions of
1570:
277:Controversial restorations
16:Painting by Paolo Veronese
1517:
1490:Giovanni Francesco Caroto
1421:Duke of Buckingham series
319:in 2008 and 2009, and in
80:Road to Emmaus appearance
38:
26:
1155:Christ Among the Doctors
376:Veronese's much smaller
293:, the journal of ARIPA,
1363:Susannah and the Elders
259:Palais de Fontainebleau
384:
350:
311:
142:The Pilgrims of Emmaus
1331:Bathsheba at her Bath
1307:Adoration of the Magi
1203:Petrobelli Altarpiece
1107:Venus Disarming Cupid
752:Les PĂ©lerins d'EmmaĂĽs
653:Renaissance Quarterly
427:Les Pèlerins d'Emmaüs
375:
303:Vierge de Miséricorde
271:Château de Versailles
247:Cardinal de Richelieu
138:Les Pèlerins d'Emmaüs
33:Les Pèlerins d'Emmaüs
1428:The Finding of Moses
1414:The Allegory of Love
1379:Cephalus and Procris
263:Palais des Tuileries
150:appearance in Emmaus
112:Government of France
1246:(c. 1556–1567)
1195:The Wedding at Cana
1142:(c. 1559–1560)
1134:(c. 1550–1560)
316:Le Journal des Arts
205:The Wedding at Cana
994:"Supper at Emmaus"
865:. 28 December 2010
725:Web Gallery of Art
587:The New York Times
385:
172:resurrected Christ
1526:
1525:
1496:Benedetto Caliari
1342:(Venice; c. 1575)
643:Quadro da Portego
497:Art and the Bible
489:"Paolo Veronese:
469:. 31 January 2016
357:Related paintings
214:(1565 and 1570).
146:resurrected Jesus
117:
116:
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1502:Gabriele Caliari
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1456:Smith collection
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1371:Venus and Adonis
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1182:(Augsburg; 1562)
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1350:(1575–1580)
1294:(1571–1572)
1262:(1565–1570)
1254:(1565–1570)
1100:attribution
1066:(1545–1548)
862:ArtWatch UK
332:ArtWatch UK
307:Holy Family
179:Septizodium
156:Description
1533:Categories
1467:Washington
406:References
251:Louis XIII
190:pedimented
86:Dimensions
31:, French:
1498:(brother)
1441:Liverpool
1417:(c. 1570)
1398:(c. 1585)
1366:(c. 1580)
1358:(c. 1580)
1302:(c. 1572)
1222:(c. 1565)
1214:(c. 1565)
1206:(c. 1563)
1174:(c. 1562)
1166:(c. 1560)
1158:(c. 1560)
1126:(c. 1556)
1118:(c. 1555)
1110:(c. 1550)
1082:(c. 1548)
1055:Paintings
674:192029956
400:Rotterdam
322:Le Figaro
267:Louis XIV
218:Ownership
132:. At the
27:Italian:
1492:(master)
1486:(master)
1395:Lucretia
1098:(1550) (
1005:28 March
975:28 March
945:28 March
869:19 March
830:18 March
802:18 March
765:11 March
731:17 March
700:17 March
621:17 March
593:17 March
565:17 March
537:11 March
502:16 March
473:16 March
440:11 March
94:Location
1477:Related
1437:Dresden
1423:(1590s)
1286:(1570s)
969:Joconde
939:Joconde
915:Nuances
893:Nuances
434:Joconde
328:Nuances
291:Nuances
194:portego
76:Subject
1452:Madrid
1334:(1575)
1318:(1573)
1310:(1573)
1238:(1566)
1198:(1563)
1150:(1560)
1074:(1548)
759:Louvre
696:. 2009
693:Louvre
672:
265:, and
261:, the
224:Louvre
134:Louvre
98:Louvre
66:Medium
48:Artist
1510:(son)
1504:(son)
1460:Turin
1433:Dijon
911:(PDF)
889:(PDF)
670:S2CID
648:(PDF)
641:"The
239:Turin
108:Owner
102:Paris
1448:Lyon
1007:2023
977:2023
947:2023
871:2023
832:2023
804:2023
767:2023
733:2023
702:2023
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442:2023
58:Year
662:doi
398:in
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