His date of birth is not known with precision, that dates back to about 1300 and was still active from 1333, date of the first certain work.

It’ s the polyptych with the Dormitio Virginis of 1333, preserved in Vicenza at the Civic Museums . 

Veneziano has been called the most important painter of the lagoon city of the fourteenth century and a precursor of Venetian painting  began at that time. He achieved a balance between his Byzantine formation and the new Tuscan influence of Giotto, who at that time was active in Padua, in the construction of the Scrovegni Chapel. 

Paolo pays great attention to the decorative use of the line and the vivid and bright color, until arriving, in the final phase of his career, sumptuous material surfaces and long and elegant figures, such as to be a prelude to the international Gothic art.

From the mid-fourteenth century his works reveal a progressive break with the Byzantine world, and an approach to new gothic tendencies, clearly visible in the cadences of the garments and the expressiveness of the faces, especially in works such as: the Enthroned Madonna of 1340  kept at the Crespi collection in Milan and the dossal of the Pala d’oro, of the Basilica of San Marco in Venice. 

In the liturgical museum of Caorle there are six tables depicting apostles, attributed to Paolo Veneziano, other works are preserved in Venetian churches and the Dalmatian islands, from Veglia to Dignano. 

His creations are instead preserved in San Severino Marche, at the Basilica of San Giacomo Maggiore in Bologna, the Frick collection in New York and the Gallerie dell’Accademia in Venice. 

Oil on wooden panel 1.14 x 1.70

Paolo Veneziano 1300-1360

His date of birth is not known with precision, that dates back to about 1300 and was still active from 1333, date of the first certain work.

It’ s the polyptych with the Dormitio Virginis of 1333, preserved in Vicenza at the Civic Museums . 

Veneziano has been called the most important painter of the lagoon city of the fourteenth century and a precursor of Venetian painting  began at that time. He achieved a balance between his Byzantine formation and the new Tuscan influence of Giotto, who at that time was active in Padua, in the construction of the Scrovegni Chapel. 

Paolo pays great attention to the decorative use of the line and the vivid and bright color, until arriving, in the final phase of his career, sumptuous material surfaces and long and elegant figures, such as to be a prelude to the international Gothic art.

From the mid-fourteenth century his works reveal a progressive break with the Byzantine world, and an approach to new gothic tendencies, clearly visible in the cadences of the garments and the expressiveness of the faces, especially in works such as: the Enthroned Madonna of 1340  kept at the Crespi collection in Milan and the dossal of the Pala d’oro, of the Basilica of San Marco in Venice. 

In the liturgical museum of Caorle there are six tables depicting apostles, attributed to Paolo Veneziano, other works are preserved in Venetian churches and the Dalmatian islands, from Veglia to Dignano. 

His creations are instead preserved in San Severino Marche, at the Basilica of San Giacomo Maggiore in Bologna, the Frick collection in New York and the Gallerie dell’Accademia in Venice.