Or so it seems. Modern critics often find his bright colors and flat processional paintings trivial. Compared to Titian and Tintoretto, for example, Veronese has been accused of being “unconcerned with the intellectual challenges of meaning” (Rosand 145). I would be pissed off if someone said that about me! Anyway, in looking back at what I have, I can see about 1200 words in which I basically argue that the animals in the painting are a vehicle for expressing a growing sense of national differentiation, a sense in which hopes and anxieties about nation and gender coincide.
I like what I've got but I'm hampered by my sources because, of course, some of my best items are in English. Since my argument is basically that the painting speaks to some of the most deeply held beliefs of early modern European culture as a whole, I don't mind crossing national boundaries, and there is, thankfully, Castiglione, but otherwise, the Italian archives are not well-represented in the digital world. This will be fun and challenging. I'll give myself till Tuesday to put together a case, but then I may have to abandon it for a while to return to bigger things.
I like what I've got but I'm hampered by my sources because, of course, some of my best items are in English. Since my argument is basically that the painting speaks to some of the most deeply held beliefs of early modern European culture as a whole, I don't mind crossing national boundaries, and there is, thankfully, Castiglione, but otherwise, the Italian archives are not well-represented in the digital world. This will be fun and challenging. I'll give myself till Tuesday to put together a case, but then I may have to abandon it for a while to return to bigger things.
Rosand, David. Painting in cinquecento Venice : Titian, Veronese, Tintoretto. New Haven: Yale University Press, 1988.
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