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Student Artwork Guide

St Matthew

Name Class Date

Paolo Veronese, St Matthew (1555), San Sebastiano. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Paolo Veronese originaluniqueart.com/en/artists/paolo-veronese/
Artist’s dates
1528 – 1588
Painted
1555
Medium
Oil On Canvas
Original size
85 x 240 cm
Movement
Renaissance The brief peak when balance, depth and anatomy came together — Leonardo, Raphael, Michelangelo.
Period
Renaissance
Held at
San Sebastiano originaluniqueart.com/en/museums/san-sebastiano-venice/

In context

St Matthew — Paolo Veronese

How big is it?

The original measures 85 × 240 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1520
  2. 1530
  3. 1540
  4. 1550
  5. 1560
  6. 1570
  7. 1580
  8. 1590

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 60 at death.

Painted when the artist was 27. The artist lived to 60. 24 of the 255 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Paolo Veronese (1528–1588) ▲ this work, 1555 every dated painting, decade by decade

First works: up to 1560 Main working years: 1560–1578 Late works: from 1578

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/paolo-veronese-st-matthew-8Y3LCC-en/

Colours

Measured from the image

    Main colour

    Walnut #703a28

    Catalogued palette

    • #703A28
    • #C4B9B2
    • #1C0C0C
    • #AB7956

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Walnut
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Statement How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Balanced Soft How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Paolo Veronese over the last twelve months — 26 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 44.3%
    2. 2 Hong Kong 8.9%
    3. 3 United States of America 8.3%
    4. 4 Romania 7.2%
    5. 5 Singapore 6.8%
    6. 6 Spain 5.8%
    7. 7 Italy 5.8%
    8. 8 France 3.6%
    9. 9 Germany 2.4%
    10. 10 Greece 1.6%
    11. · 16 other countries 5.3%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Paolo Veronese

    1. 1 Lucretia, 1580 5.0%
    2. 2 The Marriage at Cana, 1563 4.8%
    3. 3 The Wedding at Cana 4.5%
    4. 4 Dialectics, 1578 2.4%
    5. 5 Ceiling decoration (detail), 1578 2.4%
    6. 6 The Feast in the House of Simon the Pharisee, 1570 1.5%
    7. 7 Jupiter Hurling Thunderbolts at the Vices, 1554 1.5%
    8. 8 Marriage at Cana, 1571 1.5%
    9. 9 The Annunciation, 1578 1.5%
    10. 10 Baptism of Christ, 1561 1.5%
    11. 11 The Resurrection of Christ, 1570 1.3%
    12. 12 Respect 1.1%
    13. 13 The Family of Darius before Alexander (detail), 1565 1.0%
    14. 14 Mars and Venus United by Love, 1570 1.0%
    15. 15 Sts Mark and Marcellinus Being Led to Martyrdom (detail) (10), 1565 1.0%
    16. 16 Deposition of Christ, 1548 1.0%
    17. 17 End wall of the Stanza del Cane, 1560 1.0%
    18. 18 The Marriage at Cana (detail) (12), 1563 1.0%
    19. 19 Sala dell'Olimpo, 1560 1.0%
    20. 157 St Matthew, 1555 this painting 0.2%

    Together these works take 36.2% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 366 works by this artist, of which 220 were looked at at least once. This painting ranks 157 of them, with 0.2% of that attention. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    St Matthew — Paolo Veronese

    The painting St Matthew by Paolo Veronese is a masterpiece of Renaissance art, created in 1555. This beautiful oil on canvas painting measures 85 x 240 cm and is located in the San Sebastiano church in Venice, Italy. As seen on https://AllPaintingsStore.com, this painting is a stunning example of Veronese's skill and craftsmanship.

    Artistic Style and Technique

    Paolo Veronese was a prominent artist of the Venetian school, known for his use of rich colors and masterful composition. In St Matthew, he employs a range of techniques to create a sense of depth and dimensionality. The painting features a classical scene with figures dressed in Renaissance-style clothing, set against a beautiful landscape background. As explained on The Wedding at Cana (Veronese), Veronese's style is characterized by his use of Mannerist techniques, which emphasize harmony and balance in composition.

    Other Notable Works

    Some other notable works by Paolo Veronese include:

    Coronation of the Virgin, also located in San Sebastiano church, can be viewed on https://AllPaintingsStore.com

    Martyrdom of St Sebastian (detail), another example of Veronese's skill, is available on https://AllPaintingsStore.com

    Healing of the Lame Man at the Pool of Bethesda, a beautiful example of Veronese's use of color and composition, can be seen on https://AllPaintingsStore.com

    BR> The painting St Matthew by Paolo Veronese is a must-see for anyone interested in Renaissance art. With its beautiful composition, rich colors, and masterful technique, it is a true masterpiece of the era. As seen on https://AllPaintingsStore.com, this painting is just one example of the many beautiful works of art created by Paolo Veronese.

    Artist and museum

    Artist

    Paolo Veronese

    Born in Verona, Italy

    A Venetian Visionary: The Life and Art of Paolo Veronese

    Paolo Caliari, known to the world as Paolo Veronese, emerged from the vibrant artistic landscape of 16th-century Venice as a master of color, composition, and opulent spectacle. Born in Verona in 1528, the son of a stonecutter, his early life was steeped in the visual richness of his surroundings – the classical architecture, sculpted forms, and burgeoning humanist ideals that characterized the region. His initial training under Antonio Badile and Giovanni Francesco Caroto laid a foundation in traditional techniques, but it was his move to Venice in the 1550s that truly ignited his artistic genius. The city itself became his muse, its bustling marketplaces, grand palazzi, and shimmering waterways informing the scale and drama of his work. He quickly absorbed the influences of established Venetian masters like Titian, whose mastery of color profoundly impacted Veronese’s palette, yet he forged a distinct style characterized by an unparalleled sense of theatricality and grandeur.

    The Painter of Feasts and Grand Narratives

    Veronese's reputation rests upon his monumental paintings, particularly those depicting lavish feasts and biblical scenes transformed into dazzling displays of Venetian life. The Wedding at Cana, completed in 1563 for the Benedictine monastery of San Giorgio Maggiore, stands as a testament to his skill. This colossal canvas isn’t merely an illustration of the miracle; it's a vibrant panorama of 16th-century society, teeming with elegantly dressed figures, musicians, and architectural details rendered with breathtaking precision. The painting is not just about what happened at Cana but how it would have looked if it had occurred in Venice during Veronese’s time. Similarly, The Feast in the House of Levi, originally titled The Last Supper, caused controversy with the Inquisition due to its inclusion of contemporary figures and a seemingly irreverent atmosphere. Veronese defended his artistic license, asserting that painters were entitled to the same creative freedom as poets and jesters – a bold statement reflecting his belief in art’s power to interpret and reimagine sacred narratives. These works weren't simply religious depictions; they were celebrations of life, wealth, and the splendor of Venice itself. He wasn’t interested in austere spirituality but rather in capturing the joy and abundance of existence.

    Influences and Artistic Development

    While Titian’s influence on Veronese’s colorism is undeniable, his artistic development was a complex interplay of various influences. The architectural precision he brought to his compositions owes much to the classical tradition prevalent in Verona during his formative years, particularly the work of architects like Michele Sanmicheli. He also absorbed elements from Central Italian masters such as Raphael and Parmigianino, evident in the graceful lines and harmonious arrangements within his paintings. However, Veronese didn’t simply imitate these influences; he synthesized them into a uniquely Venetian style characterized by its dramatic use of light, vibrant color palettes, and meticulous attention to detail. He excelled at creating illusions of space and depth, employing perspective techniques to draw viewers into the heart of his elaborate scenes. His mastery of oil painting allowed him to achieve an unparalleled luminosity and richness of texture. He also ran a large workshop, with contributions from his brother Benedetto and sons Gabriele and Carlo, ensuring that his style continued to flourish even after his death in 1588.

    Legacy and Historical Significance

    Paolo Veronese’s impact extends far beyond the realm of Renaissance art. His work has resonated through centuries, inspiring artists across various disciplines. His dramatic compositions and vibrant color schemes have been cited as influences on everything from Baroque painting to modern cinema – even finding echoes in the visual aesthetics of Spaghetti Westerns. He was part of the “great trio” of Venetian painters—alongside Titian and Tintoretto—each contributing uniquely to the city’s artistic legacy, yet Veronese often stands apart for his sheer exuberance and celebration of earthly pleasures. His paintings continue to captivate audiences with their grandeur and spectacle, offering a glimpse into the opulent world of 16th-century Venice.

    He redefined historical painting by imbuing it with contemporary life.

    His use of color remains influential for artists today.

    His work embodies the spirit of Renaissance humanism and celebration of earthly beauty.

    Veronese’s legacy is a testament to his artistic genius, his ability to capture the essence of an era, and his enduring contribution to the history of art.

    Museum

    San Sebastiano

    On show in Venice, Italy

    A Venetian Sanctuary of Light and Color: The Church of San Sebastiano

    Nestled within the labyrinthine sestiere of Dorsoduro in Venice, the Chiesa di San Sebastiano offers an experience profoundly unlike any other museum visit. More than simply a place of worship, this 16th-century edifice is a breathtaking testament to the genius of Paolo Veronese and a remarkably intimate space where art breathes alongside faith. Stepping through its unassuming doorway feels less like entering a gallery and more like being enveloped within one magnificent, all-encompassing artwork – a carefully orchestrated symphony of color, light, and narrative. The very air hums with the echoes of Renaissance ambition, artistic fervor, and a deep connection to Venice’s turbulent history as a maritime republic.

    The genesis of San Sebastiano is rooted in a poignant period of Venetian vulnerability. Initially conceived as a hospice for the Gerolimine fathers in the late 14th century, its destiny was irrevocably shaped by recurring plagues that ravaged the city. Dedicated to Saint Sebastian, invoked as a protector against pestilence – a figure whose martyrdom resonated deeply with Venice’s anxieties – the oratory evolved into a full-fledged church beginning in 1506 under the guidance of architect Antonio Abbondi. The resulting structure embodies Venetian Gothic simplicity on the exterior, providing an elegant and harmonious backdrop for the explosion of artistic brilliance that was soon to unfold within its walls. Crucially, it’s vital to remember that San Sebastiano wasn't designed as a blank canvas; it was built with Veronese’s grand vision firmly in mind – a deliberate architectural choice ensuring that his monumental works would be displayed at their most impactful. The single nave, soaring towards a raised choir and an apsidal presbytery crowned by a magnificent cupola, creates a sense of boundless space perfectly suited to showcase Veronese's ambitious program.

    Veronese’s All-Encompassing Vision

    The mid-16th century witnessed Paolo Veronese embark on what would become the defining project of his illustrious career: the complete decoration of San Sebastiano. Over decades, he transformed the church into a dazzling spectacle of frescoes and paintings, creating arguably his most cohesive and immersive artistic statement. The sheer scale is staggering – from the Old Testament scenes adorning the sacristy to the monumental Virgin in Glory with Saint Sebastian dominating the high altar. Veronese poured his heart and soul into every detail, meticulously crafting a narrative that intertwined religious devotion with aristocratic elegance and dramatic spectacle. His mastery of color—rich, luminous, and utterly captivating—is on full display; observe how he imbues biblical figures not just with physical presence but also with palpable humanity. Fragments of the Feast at the House of Simon, hinting at Veronese’s famed opulent banquet scenes, offer tantalizing glimpses into a world of lavish feasts, courtly intrigue, and vibrant social life. He wasn't merely illustrating scripture; he was constructing an experience, drawing viewers directly into the heart of the stories themselves – inviting them to become participants in these grand narratives.

    Echoes of Venetian Brilliance

    While Paolo Veronese undeniably dominates the visual landscape of San Sebastiano, it’s important to acknowledge that other masters contributed significantly to its artistic richness. Tintoretto's dramatic use of light and shadow, exemplified by Christ Washing the Feet of His Disciples, provides a compelling counterpoint to Veronese’s vibrant palette, injecting a sense of dynamism and emotional intensity into the space. Sebastiano del Piombo’s poignant Lamentation of Christ adds another layer of profound emotional depth, offering a moment of quiet contemplation amidst the grandeur of Veronese's compositions. These contributions—distinct in style yet harmoniously integrated—enrich the overall experience, showcasing the breadth and vitality of Venetian artistic talent during the 16th century. Furthermore, the church holds a deeply personal significance: it serves as Veronese’s final resting place, a poignant reminder of the artist's enduring legacy within these very walls – a testament to his dedication and creative spirit.

    An Intimate Encounter

    What truly sets San Sebastiano apart is its unique atmosphere. Unlike grand museums where artworks are often isolated behind barriers, here you are enveloped by Veronese’s creations in their original context. The flickering candlelight, the hushed reverence of a working church, and the sheer density of artistic detail create an immersive experience that transcends mere observation. It's a place to lose yourself in the beauty of Renaissance art, to contemplate its spiritual significance, and to appreciate the enduring power of human creativity. The subtle scent of incense mingled with the aged stone adds another layer of sensory richness, transporting visitors back in time. For those seeking not just to see art but to feel it—to connect with the emotions and intentions of the artists who created these masterpieces—San Sebastiano offers an unforgettable journey into the heart of Venetian artistic brilliance.

    Highlights & Current Exhibitions

    Currently, San Sebastiano hosts rotating exhibitions focusing on Veronese’s techniques and the historical context of his work. Don't miss the opportunity to view detailed studies of his color palettes and compositional strategies. The church also regularly features smaller displays highlighting related works from other Venetian artists within its collection. Check ArtsDot.com for current exhibition details and reproductions available.

    Where to read more

    Find this online

    QR code linking to the download page for St Matthew

    originaluniqueart.com/en/art/download/paolo-veronese-st-matthew-8Y3LCC-en/

    Cite this artwork

    MLA
    Veronese, Paolo. St Matthew. 1555, San Sebastiano. https://originaluniqueart.com/en/art/paolo-veronese-st-matthew-8Y3LCC-en/
    APA
    Veronese, Paolo (1555). St Matthew [Painting]. San Sebastiano. https://originaluniqueart.com/en/art/paolo-veronese-st-matthew-8Y3LCC-en/
    Chicago
    Paolo Veronese. St Matthew. 1555. San Sebastiano. https://originaluniqueart.com/en/art/paolo-veronese-st-matthew-8Y3LCC-en/
    Harvard
    Veronese, Paolo (1555) St Matthew. San Sebastiano. Available at: https://originaluniqueart.com/en/art/paolo-veronese-st-matthew-8Y3LCC-en/

    Look closely

    St Matthew — Paolo Veronese

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: st matthew, renaissance art, biblical scene. Do you agree? What would you add, or take away?
    4. Look back at Lucretia (1580), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Renaissance: The brief peak when balance, depth and anatomy came together — Leonardo, Raphael, Michelangelo. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Questions & Answers

    What is the dominant hue of "St Matthew" by Paolo Veronese?

    The dominant hue of "St Matthew" by Paolo Veronese is amber to saffron. The hue is the underlying tone of the palette.

    What technique and size is the original "St Matthew" by Paolo Veronese?

    The original "St Matthew" by Paolo Veronese is an oil on canvas work measuring 85 x 240 cm. Technique and size describe the original object.

    What medium is "St Matthew" by Paolo Veronese executed in?

    The medium of "St Matthew" by Paolo Veronese is oil on canvas. Reproductions aim to render the appearance of this technique.