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| Paolo Veronese The Annunciation (detail) 1578 oil on canvas Gallerie dell'Accademia, Venice |
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| Paolo Veronese The Annunciation 1578 oil on canvas Gallerie dell'Accademia, Venice |
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| Paolo Veronese Venus and Adonis ca. 1580 oil on canvas Museo del Prado, Madrid |
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| Paolo Veronese Holy Family enthroned with St Justina of Padua, St Francis, young St John the Baptist and St Jerome ca. 1562-64 oil on canvas Gallerie dell'Accademia, Venice |
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| Paolo Veronese Assumption of the Virgin ca. 1585-87 oil on canvas Gallerie dell'Accademia, Venice |
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| Paolo Veronese Coronation of the Virgin 1586 oil on canvas Gallerie dell'Accademia, Venice |
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| Paolo Veronese St Nicholas named Bishop of Myra ca. 1580-82 oil on canvas Gallerie dell'Accademia, Venice |
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| Paolo Veronese Penitent St Jerome ca. 1570 oil on canvas Gallerie dell'Accademia, Venice |
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| Paolo Veronese St Anthony preaching to the Fish ca. 1580 oil on canvas Galleria Borghese, Rome |
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| Paolo Veronese Baptism of Christ ca. 1561 oil on canvas Chiesa del Santissimo Redentore, Venice |
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| Paolo Veronese St John the Baptist preaching 1562 oil on canvas Galleria Borghese, Rome |
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| Paolo Veronese Cain as a Fugitive with his Family ca. 1585 oil on canvas Museo del Prado, Madrid |
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| Paolo Veronese The Conversion of Mary Magdalen ca. 1548 oil on canvas National Gallery, London |
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| Paolo Veronese The Deposition ca. 1580 oil on canvas Museo di Castelvecchio, Verona |
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| Paolo Veronese The Crucifixion ca. 1580-82 oil on canvas Gallerie dell'Accademia, Venice |
"Born in Verona and trained by the mediocre Veronese painter Antonio Badile, Paolo Veronese (1528-1588) became one of the most prolific and successful painters in Venice where he moved c. 1550. Master of fresco decoration; of altarpieces; of ceiling paintings; of enormous feast-scenes on canvas for refectories; and portraits, he also evolved a modern variant of the old Venetian telero or scuola pictures. The mood of these and Veronese's other paintings through the 1550s and early 1560s is characteristically grand, dignified and elegant but not tragic or even overtly emotional.
At first drawn to Mannerism, Veronese developed a personal style ultimately counter to it: adapting Titian's colouration to central Italian monumentality and plasticity. His luminous and brilliant colours do not fuse forms – as in Titian's late manner – but serve to pick them out, to enhance illusionism and a kind of classicizing realism. Around 1565, under the influence of Tintoretto, Veronese began to introduce a darker tonality and chiaroscuro, the temper of his paintings also became graver and increasingly full of pathos."
– extracts from the Yale Dictionary of Art and Artists, Erika Langmuir and Norbert Lynton (2000)