Paolo Veronese

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Self-portrait of Paolo Veronese as a musician with viol , directly behind to the right portrait of Tintoretto . Detail from the Wedding at Cana , Louvre , Paris, 1562–63
Signature of the painter

Paolo Veronese (* 1528 in Verona , † April 18, 1588 in Venice ) was an Italian painter . He is considered one of the most important masters of the late Renaissance and Venetian painting . His real name was Paolo Cagliari , also written Paolo Caliari . He became known, however, with the addition of "Veronese" to his name, after his place of birth Verona.

Life

Veronese house in Venice

Paolo Veronese was born in Verona in 1528 as the fifth child of Gabriele Caliari from Bissone and his wife Caterina. His father was a stonemason . He received his first artistic training in Verona and became a student of his uncle Antonio Badile , whose daughter Elena he married on April 29, 1566.

Paolo had been creating altarpieces and frescoes in Verona style for some time when he painted his first work for Venice in 1551: the altarpiece of the Holy Family with St. John the Elder. Baptist, Catherine and Antony for the Giustiniani Chapel in San Francesco della Vigna .

After working at Castelfranco Veneto on frescoes in Villa Soranzo, which was demolished in 1819, and after painting a Temptation of St. Anthony for the cathedral in Mantua , he was called to Venice in 1553 to decorate the three halls of the Dieci in the Doge's Palace with other artists . The resulting pictures of great luminosity - u. a. the allegory Juno showered Venice with gifts - immediately brought him the highest recognition. In the 1556–57 decoration of the ceiling in the Biblioteca Marciana , which he made together with Salviati , Andrea Schiavone and four other artists, he created three ceiling paintings, for which, according to Vasari, he received the exposed price in the form of a gold chain from Titian's hands have received; he also showed his appreciation by hugging him in public.

In 1555, Veronese had started painting the church of San Sebastiano , which was to drag on for fifteen years and was one of his major works. First he painted the Coronation of Mary and the four evangelists on the ceiling of the sacristy . He had received the commission from his compatriot Bernardo Torlioni, who was a monk in this monastery. In 1556 the ceiling frescoes of the nave with three representations from the story of Esther and 1558 a. a. two pictures from the life of St. Sebastian and further pictures for the organ wings. In 1565 he completed the masterful main altarpiece of Our Lady in Glory with St. Sebastian and other saints and, by 1570, two frescoes for the choir, a. a. the martyrdom of St. Sebastian .

Ceiling fresco with Bacchus, Vertumnus and Saturn in the Villa Barbaro , Maser, 1560–61

Veronese kept his residence in Venice, but was also active in the area several times: near Vicenza , together with Giambattista Zelotti, from 1560 to 1561 in the Villa Thiene he performed allegorical representations and those from ancient history.

For the highly educated humanist Daniele I. Barbaro , whom Veronese had known since the decoration in the Doge's Palace, and for his brother Marcantonio Barbaro, he painted a cycle of frescoes in the Villa Barbaro zu Maser near Treviso in 1560–61 , which is considered one of his main decorative creations. Between 1562 and 1570 Veronese also painted a portrait of Daniele Barbaro.

In the 1560s and 70s he received orders for altarpieces for the churches of San Zaccaria and San Silvestro in Venice, but also for churches in other places, such as the abbey church of San Benedetto Po near Mantua , Santa Corona in Vicenza , the basilica Santa Giustina in Padua , and for San Giorgio in Braida in his hometown of Verona. Most of the resulting pictures are in museums today.

Veronese is particularly known for a whole series of large-format and splendid depictions of banquets from the life of Jesus Christ . The first of these pictures is the Wedding at Cana for San Giorgio Maggiore from 1562–63 , a huge mural 6.70 m high and almost 10 m wide, which was carried off to Paris by the Napoleonic troops in 1797 and is now in the Louvre . In the painting he portrayed some well-known contemporaries, including himself in the foreground as a musician and his painter colleagues Tizian , Tintoretto and Jacopo Bassano . He succeeded in creating a more intimate atmosphere in the Lord's Supper, which was more focused on religious events, in Emmaus with the client's family and children (also in the Louvre, Paris). Paolo created a feast in Simon's house around 1570 for his “favorite church” San Sebastiano; it is now in the Pinacoteca di Brera in Milan. Another gift for the Servite Monastery was given by the Republic of Venice to Louis XIV in 1664 (today in Versailles Palace ).

The feast in Levi's house ,
555 × 1310 cm, Accademia, Venice, 1573

Veronese's Last Supper, completed in 1573 for the refectory of the Dominican church Santi Giovanni e Paolo (today: Accademia , Venice) belongs to the same genre . It brought him some difficulties at first, but he knew how to circumvent them with diplomatic skill and a trick. Veronese was questioned on July 18, 1573 by three Savi of the Sacro Tribunale in the Cappella di San Teodoro of St. Mark's Basilica , because he had painted in the picture “ fools , drunken German mercenaries , dwarfs and similar bizarre things”, which are used for a representation of the last Felt that the Lord's Supper was improper. Veronese defended herself not entirely without irony : “We painters take the liberties that poets and madmen take for themselves ... I paint my pictures with deliberation, in an appropriate way and with understanding ... not as if I wanted to defend myself, but I thought I'd do well. I have not considered that foolish figures are inappropriate in a place where our Lord resides, nor have I believed that they are causing any disorder ”. After the questioning, the record of which is still in the Vatican archives today, he was ordered to change the picture at his own expense, which was later deleted from the record. Veronese, however, changed almost nothing, just added an inscription on the balustrade on the left and right: FECIT D. COVO. MAGNV. LEVI and LVCA CAP. V. So the picture should no longer represent the Last Supper, but the feast mentioned in Luke's Gospel in Levi's house ( Luke 5 : 27–32  EU ), at which the presence of mercenaries and “strange people” was more acceptable.

Venus and Mars with Cupid and a horse ,
47 × 47 cm, Galleria Sabauda , Turin

Around 1575 he created one of his greatest masterpieces, the altarpiece of the Mystical Wedding of St. Catherine for the Venetian Church of Santa Caterina (today in the Accademia, Venice).

Veronese also painted portraits and mythological pictures with an often erotic element, in particular several depictions of Venus and Mars (Galleria Sabauda, ​​Turin; Metropolitan Museum, New York). One of these pictures (today: National Gallery of Scotland , Edinburgh) was part of a series of four paintings for Emperor Rudolph II in Prague .

In the Treviso area, after 1572, he also painted frescoes from ancient history in Magnadole Castle , including the Darius family and Cleopatra's feast .

After two fires in 1574 and 1577, Veronese received orders for decorations in the Doge's Palace again. In addition to eight allegorical virtues , he also created the allegory of the Battle of Lepanto (1575–77) above the Doge's throne in the Sala del Collegio, and the Triumph of Venice ceiling painting in the Sala del Maggior Consiglio, completed in 1582 .

Our Lady in Glory with St. Sebastian and other saints ,
420 × 230 cm, main altarpiece from San Sebastiano , Venice, 1565

Over the past decade, Veronese's style has changed, becoming darker, simpler, and more emotional. This phase includes eleven paintings for the Venetian church of San Nicolò dei Frari (or “della Lattuga”), which were painted before 1582 and are now spread across different locations, including the two large-format images of the Crucifixion (Accademia, Venice) and Baptism and Temptation Christ , now in the Pinacoteca di Brera (Milan). His late masterpiece Christ in Gethsemane , which he originally painted for Santa Maria Maggiore around 1583–84, is in the same gallery today . He created other works, including several angel spietàs and crucifixions , for the churches of Santi Giovanni e Paolo, San Zulian , San Sebastiano, San Lazzaro dei Mendicanti , Santa Sofia, Ognissanti and Sant'Andrea della Zirada; Some of these pictures are now in museums.

His last work is the altarpiece Conversion of St. Pantaleon through the healing of a boy , which he painted for the Church of San Pantalon in 1587 .

Paolo Veronese died in Venice on April 18, 1588 at the age of 60 of pneumonia and was buried in the church of San Sebastiano.

A lifelong collaborator of Paolo was his younger brother Benedetto (1538–1598), as well as his nephew Alvise del Friso (1544–1609). Paolo's sons Gabriele (1568–1631) and Carletto (1570–1596) also learned the painting trade from him. After his death, the Veronese workshop was continued by Benedetto, and later by Gabriele, who sometimes signed as “ Haeredes Pauli ” (“Paolo's heirs”). None of his successors ever achieved the artistic mastery of Paolo Veronese.

Appreciation

Together with Titian and Tintoretto, Veronese is one of the three greats of Venetian painting. In contrast to his two colleagues, he painted many frescoes in addition to oil paintings .

Holy Family with St. Barbara and the Boy John , Uffizi , Florence

Although some authors wanted to recognize Mannerist tendencies, especially in his early work , which he had adopted from Emilian artists and Giulio Romano , overall this does not seem tenable in view of the always harmonious, classical naturalness of his figure ideal, which is reminiscent of Titian . The movements depicted by Veronese always remain within the framework of the natural, even in the more daring bottom views and foreshortened perspectives of his ceiling paintings , which, like his style as a whole, clearly point to the Baroque .

His style is pronounced early on. A festive, cheerful basic tone determines the atmosphere of his pictures, a bright, friendly light the interiors , a fine silvery shimmer often hangs over the fabrics. Veronese was a master of color , with a rich, chromatically graded color palette and a certain preference for pastel shades such as pink, sky blue and yellow. His clear, often complementary colors clearly distinguish his style of painting from the heavier coloring of Titian and Tintoretto. The compositions of his early and mature days often play out in magnificent, almost stage-like architectural settings .
In his late work, around after 1575, his palette becomes more muted and darker, his compositions simpler, and the moods more emotional. He now often uses landscapes as backgrounds. The aristocratic character, which previously determined his religious images, becomes weaker. This development was probably triggered by the ideals of the Counter-Reformation , but possibly also by an influence of the from the outset, more mystical Tintoretto. Increased participation by the workshop in the last creative phase cannot be entirely ruled out.

Veronese had a strong influence on the painters of the Venetian late Baroque and Rococo , especially on Sebastiano Ricci and Giovanni Battista Tiepolo .

gallery

Works of art (selection)

Perseus saves Andromeda , 1576–1578, Musée des Beaux-Arts , Rennes

Italy

Venice

Accademia , Venice:

  • Madonna Enthroned with Child and Saints (Altarpiece by San Zaccaria), 1564
  • The feast in Levi's house , 1573
  • Mystical Wedding of St. Catherine (altarpiece for the Church of Santa Caterina), around 1575
  • Saint Jerome as penitent (originally for Sant'Andrea della Zirada, Venice), around 1580
  • Crucifixion , before 1582
  • Assumption of the Virgin Mary (originally for Ognissanti, Venice), around 1586
  • Assumption of the Virgin Mary (originally for Santa Maria Maggiore, Venice), around 1586

Biblioteca Marciana , Venice:

  • Three ceiling paintings Honor , Arithmetic and Geometry and Music , 1556–57

Doge's Palace , Venice:

  • Ceiling painting in the Sala dei Dieci, 1553–55
  • Ceiling painting in the Sala del Collegio, including eight allegories of virtues , 1575–77
  • Allegory of the Battle of Lepanto (Sala del Collegio), 1578
  • Robbery of Europa (Sala del Anticollegio), before 1580
  • The Triumph of Venice (ceiling painting in the Sala del Maggior Consiglio), before 1582 (with workshop)


San Sebastiano Church , Venice:

  • Coronation of Mary and the four Evangelists (ceiling of the sacristy), 1555.
  • Story of Esther (ceiling frescoes in the nave), 1556
  • Annunciation , Life of St. Sebastian a . a., 1558
  • Our Lady in Glory with St. Sebastian and other saints (main altar), 1565
  • Martyrdom of St. Sebastian and Martyrdom of St. Markus and Marcellianus (frescoes in the choir), 1565–70

Church of Santi Giovanni e Paolo , Venice:

  • Assumption of the Virgin Mary , Annunciation and Adoration of the Shepherds (ceiling paintings in the rosary chapel , originally for Santa Maria dell Umilta), around 1558

Church of San Francesco della Vigna , Venice:

  • Holy Family with St. John d. Baptist, Catherine and Antonius (Giustiniani Chapel), 1551

San Pantalon Church , Venice:

  • Conversion of St. Pantaleon by Healing a Boy , 1587

Other places in Italy

Pinacoteca di Brera , Milan:

  • Baptism and Temptations of Christ (originally for San Nicolò dei Frari, Venice), before 1582
  • Christ in Gethsemane (originally for Santa Maria Maggiore, Venice), 1583–84

Galleria Palatina in the Palazzo Pitti , Florence:

  • Nobleman in a lynx skin
  • Iseppo da Porto with his son Adriano , around 1552

Uffizi Gallery , Florence:

  • Holy Family with St. Barbara and the Boy John

Vatican Museums , Rome:

Villa Barbaro di Maser , near Treviso :

  • large frescoes in the halls and rooms, 1560–61

Galleria Sabauda , Turin:

  • Supper in Simon's house

Museo di Castelvecchio , Verona:

  • Lamentation of Christ
  • Our Lady Enthroned with Saints and Donors (Pala di Bevilacqua -Lazise), before 1548

Church of San Giorgio in Braida, Verona :

  • The Martyrdom of St. George , 1562

Germany

Municipal art collections, Augsburg :

  • Venus and Adonis , 1560s

State Museums Kassel :

  • Preliminary drawings for the banquet in Levi's house , for a Venice enthroned , for the conquest of Smyrna and St. Mary and Anna , between 1571 and 1586, graphite or ink with pen, (inventory numbers GS 1121 to GS 1124).

Old Masters Picture Gallery Dresden , Dresden:

  • Cuccina cycle , around 1571:
    • The Adoration of the Magi ,
    • The wedding at Cana ,
    • Carrying the Cross ,
    • The Madonna of the Cuccina family
  • Resurrection of Christ , Old Masters Picture Gallery , Dresden, around 1575

England

National Gallery , London:

  • The family of Darius before Alexander , 1565 to 1567
  • four allegories of love , around 1575
  • Family of dareios
  • The Adoration of the Magi (originally for the Church of San Silvestro, Venice), around 1573

France

Louvre , Paris:

  • Zeus who drives out the vices (ceiling painting from the Doge's Palace), 1553–55
  • The wedding at Cana , 1562/63
  • Supper at Emmaus
  • Portrait of a noble lady called La belle Nani

Musée des Beaux-Arts , Caen:

  • Temptation of St. Antony

Musée des Beaux-Arts , Rennes:

  • Perseus saves Andromeda , 1576–1578,

Austria

Kunsthistorisches Museum , Vienna:

  • Anointing of David , around 1555
  • Susanna and the Elderly , 1580s
  • Jesus and the Samaritan Woman , ca.1585

Russia

Hermitage , St. Petersburg:

  • Pietà , ca.1581

Peterhof Palace (?), St. Petersburg:

  • Venus and Adonis , oil on canvas, undated

Spain

Prado , Madrid:

  • Venus and Adonis , around 1570 (?)
  • Finding of Moses , approx. 1575–80

Czech Republic

National Museum , Prague:

  • The washing of feet , 1580s

United States

Walters Art Museum , Baltimore :

  • Portrait of Contessa Livia da Porto Thiene with her daughter Deidamia , 1552

Auctions

  • 1825 in Nuremberg : Above in a rich architecture of the temple in Jerusalem one sees the representation of the baby Jesus in the temple, which the high priest holds in his hands; in ...,

literature

  • Article Veronese, Paolo , in: Lexikon der Kunst , Vol. 12, Karl Müller Verlag, Erlangen, 1994, pp. 144–148
  • Archivio del Santo Ufficio, in the custody of the State Archives of Venice (from 1541)
  • Britta von Campenhausen: Eloquente Pittore, pengente oratore - studies of mythological-allegorical paintings by Paolo Veronese (Contributions to Art History Volume 80). scaneg Verlag, Munich 2003, ISBN 3-89235-080-9 .
  • TJ Clark : Veronese's 'Allegories of Love' . In: London Review of Books 36: 7, April 3, 2014, pp. 7-12.
  • Sören Fischer: The landscape as a framed view in the Venetian villas of the 16th century - Sustris, Padovano, Veronese, Palladio and the illusionistic landscape painting , Petersberg 2014, esp. Pp. 110–126. ISBN 978-3-86568-847-7
  • Hans Dieter Huber : Paolo Veronese. Art as a social system. Fink, Munich 2005, ISBN 3-7705-3842-0 .
  • Ch. Lenz: Veronese pictorial architecture. Diss., Munich 1969
  • Filippo Pedrocco: Veronese , Scala, Antella (Florence), 1998
  • G. Piovene, R. Marini: L'opera completa del Veronese. Milano 1968
  • David Rosand: The Venetian Painting in the 16th Century , in: Giandomenico Romanelli (Ed.): Venice - Art and Architecture , Vol. 1, Könemann, Cologne, 1997, pp. 394–457
  • Staatliche Museen Kassel, Christiane Lukatis, Hans Ottomeyer (eds.): With brush, pen and pen - master drawings of the graphic collection , exhibition catalog, Edition Minerva, Kassel 2000 ISBN 3-931787-12-5

Individual evidence

  1. ↑ a b c d Filippo Pedrocco: Veronese , Scala, Antella (Florence), 1998, p. 74
  2. ↑ a b Filippo Pedrocco: Veronese , Scala, Antella (Florence), 1998, p. 3
  3. ↑ Paolo Caliari . In: Ulrich Thieme (Hrsg.): General Lexicon of Fine Artists from Antiquity to the Present . Founded by Ulrich Thieme and Felix Becker . tape 5 : Brewer-Carlingen . EA Seemann, Leipzig 1911, p. 392 ( Textarchiv - Internet Archive ).
  4. ↑ Ursula Stevens: Gabriele Caliari. In: tessinerkuenstler-ineuropa.ch. Retrieved March 10, 2016 (2012/2016).
  5. ↑ a b Cecil Gould: Paolo Caliari, detto il Veronese , in: Dizionario Biografico degli Italiani , Volume 16, 1973, online on Treccani (Italian; accessed May 1, 2020)
  6. ↑ Filippo Pedrocco: Veronese , Scala, Antella (Florence), 1998, pp. 6 and 8–9
  7. ↑ Filippo Pedrocco: Veronese , Scala, Antella (Florence), 1998, pp. 6 and 10
  8. ↑ Filippo Pedrocco: Veronese , Scala, Antella (Florence), 1998, pp. 11-14
  9. ↑ Filippo Pedrocco: Veronese , Scala, Antella (Florence), 1998, p. 17
  10. ↑ Filippo Pedrocco: Veronese , Scala, Antella (Florence), 1998, p. 16
  11. ↑ Filippo Pedrocco: Veronese , Scala, Antella (Florence), 1998, p. 16 (ceiling of the nave) and 18–19 (St. Sebastian, organ wing, etc.)
  12. ↑ Filippo Pedrocco: Veronese , Scala, Antella (Florence), 1998, p. 41 (frescoes of the choir) and 45–46 (main altarpiece)
  13. ↑ Filippo Pedrocco: Veronese , Scala, Antella (Florence), 1998, pp. 14 and 21
  14. ^ Filippo Pedrocco: Veronese , Scala, Antella (Florence), 1998, pp. 21-33
  15. ↑ On the illusionistic landscape painting of the villa, see Andrea Palladio and the Stanza di Baco (pdf; 678.49kb), accessed on February 2, 2014
  16. ^ S. R. Cocke: Veronese and Daniele Barbaro: the Decoration of Villa Maser . In: Journal of the Warburg and Courtauld Institutes 35/1972
  17. ^ Norbert Huse: Palladio and the Villa Barbaro in Maser. In: Arte Veneta XXVII / 1974; Wolfgang Wolters: Architecture and Ornament. Venetian architectural jewelry in the Renaissance. Munich 2000, 2005 pp. 8, 146; Ders .: architecture and sculpture. In: Norbert Huse, Wolfgang Wolters: Venice. The art of the Renaissance. Architecture, sculpture, painting 1460–1590. Munich 1986, 2nd edition 1996 p. 138ff
  18. ↑ Filippo Pedrocco: Veronese , Scala, Antella (Florence), 1998, pp. 43, 46, 49
  19. ↑ Filippo Pedrocco: Veronese , Scala, Antella (Florence), 1998, p. 34 ff
  20. ↑ Filippo Pedrocco: Veronese , Scala, Antella (Florence), 1998, p. 34
  21. ↑ Filippo Pedrocco: Veronese , Scala, Antella (Florence), 1998, p. 35
  22. ↑ Lawrence Gowing: The painting collection of the Louvre , Dumont, Cologne, 1988/2001, p. 269
  23. ↑ a b Filippo Pedrocco: Veronese , Scala, Antella (Florence), 1998, p. 47
  24. ↑ Filippo Pedrocco: Veronese , Scala, Antella (Florence), 1998, pp. 47-48
  25. ↑ a b c d e David Rosand: The Venetian Painting in the 16th Century , in: Giandomenico Romanelli (Ed.): Venice - Art and Architecture , Vol. 1, Könemann, Cologne, 1997, pp. 394–457, here: 439
  26. ^ Translated into German by Giuseppe Delogu (ed.): The banquet in the Levi house. Text of the interrogation of Paolo Veronese. Zurich 1950 (without pagination).
  27. ↑ Filippo Pedrocco: Veronese , Scala, Antella (Florence), 1998, p. 48 f
  28. ↑ Filippo Pedrocco: Veronese , Scala, Antella (Florence), 1998, pp. 38–39, 41 and 43
  29. ↑ Filippo Pedrocco: Veronese , Scala, Antella (Florence), 1998, pp. 52 and 58-60
  30. ^ Filippo Pedrocco: Veronese , Scala, Antella (Florence), 1998, pp. 58, 61-65
  31. ↑ Filippo Pedrocco: Veronese , Scala, Antella (Florence), 1998, pp. 61-63
  32. ↑ Filippo Pedrocco: Veronese , Scala, Antella (Florence), 1998, pp. 63-65
  33. ↑ Filippo Pedrocco: Veronese , Scala, Antella (Florence), 1998, pp. 67-68
  34. ↑ Filippo Pedrocco: Veronese , Scala, Antella (Florence), 1998, p. 69
  35. ↑ Filippo Pedrocco: Veronese , Scala, Antella (Florence), 1998, pp. 69-74
  36. ↑ The picture is also known as St. Pantaleon heals a boy . Filippo Pedrocco: Veronese , Scala, Antella (Florence), 1998, pp. 73–74 (Fig. On 76f)
  37. ↑ Veronese, Paolo , in: Lexikon der Kunst , Vol. 12, Karl Müller Verlag, Erlangen, 1994, pp. 144–148, here: 144.
  38. ↑ Filippo Pedrocco: Veronese , Scala, Antella (Florence), 1998, p. 4
  39. ↑ Veronese, Paolo , in: Lexikon der Kunst , Vol. 12, Karl Müller Verlag, Erlangen, 1994, pp. 144–148, here: 145
  40. ↑ Veronese, Paolo , in: Lexikon der Kunst , Vol. 12, Karl Müller Verlag, Erlangen, 1994, pp. 144–148
  41. ↑ Filippo Pedrocco: Veronese , Scala, Antella (Florence), 1998, pp. 67–73 (reference to Tintoretto: p. 68)
  42. ↑ Filippo Pedrocco: Veronese , Scala, Antella (Florence), 1998, p. 77
  43. ↑ Veronese, Paolo , in: Lexikon der Kunst , Vol. 12, Karl Müller Verlag, Erlangen, 1994, pp. 144–148; here: 148
  44. ^ Staatliche Museen Kassel, Christiane Lukatis, Hans Ottomeyer: With brush, pen and pen - master drawings of the graphic collection , pp. 26 to 32.
  45. ↑ Veronese: The Cuccina cycle. The restored masterpiece ( Memento of the original from March 10, 2018 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. (accessed on March 10, 2018) @1@ 2Template: Webachiv / IABot / gemaeldegalerie.skd.museum
  46. ↑ https://www.youtube.com/watch?v=WXLIkZe2H44
  47. ↑ DIRECTORY OF THE v.DERSCHAUISCHE Kunstkabinett zu NÜRNBERG .... Nuremberg, at the obligated auctionator Schmidmer., 1825., 250 p., Directory of rare art collections., 1825., Google Books, online , p. 75, (67.)

Web links

Commons : Gallery: Paolo Veronese  - Album with pictures, videos and audio files
Wikisource: Paolo Veronese in the catalog of the Royal Picture Gallery in Dresden (1887)  - sources and full texts
personal data
SURNAME Veronese, Paolo
ALTERNATIVE NAMES Caliari, Paolo
BRIEF DESCRIPTION Italian Renaissance painter
DATE OF BIRTH 1528
PLACE OF BIRTH Verona
DATE OF DEATH April 18, 1588
Place of death Venice