In front of the Paolo Veronese’s paintings we admire the refinement of the composition, the quality of the colors, the elegance of the characters, the subject depicted, but we do not always ask ourselves to whom we owe that particular choice of theme and which personality is behind it. The list of typologies of the painter’s clients, in the geographical extension that goes from his birthplace to the city of adoption, Venice, where he moved definitively in 1555, would be very long, since no one seems to escape the charm of Paolo Veronese’s inventiveness and palette, whether it is a devotional painting to be placed on an altar or in the refectory of their convent, to eternalize their effigy in a portrait, to appear in disguise on the walls of their fraternity. On this occasion we will try to observe and evaluate how the donors (nobles, rich citizens, merchants or priors) appear as portraits or hide under their homonymous saints or coats of arms of their own house in the paintings commissioned by them, and paid, and to discern how much is due to the painter and how much to the will of the clients their appearance and how to appear.
Stefania Mason has been a full professor of modern art history and director of the graduate school in art history at the University of Udine. Her studies, mainly focused on the art of the Venetian Renaissance and the history of collecting, have led to numerous publications, to the care of exhibitions in Italy and Europe and collaborations with important institutions such as the Getty Research Institute in Los Angeles and INHA in Paris. She is president of the Scientific Council of the Fondazione Centro Studi Tiziano e Cadore.