The Wedding at Cana is an oil painting on canvas by the Italian painter Veronese, created between 1562 and 1563 for the refectory of the Benedictine monastery of San Giorgio Maggiore in Venice. The painting depicts a biblical scene of Jesus’ first miracle, the transformation of water into wine at a wedding banquet, transposed into a contemporary Venetian context. The canvas measures almost 10 meters by 6.7. It is the largest painting housed in the Louvre Museum in Paris.
Historical context of the work
The Wedding at Cana is part of a series of paintings commissioned by the prior of the monastery of San Giorgio Maggiore, Paolo da Pozzo, to decorate the refectory designed by architect Andrea Palladio. The contract signed on June 6, 1562 specifies that Veronese must paint a painting “of the same width and height as the opposite wall, occupying it entirely,” and that he can represent “as many figures as can be made to fit.” The chosen subject is that of the wedding at Cana, taken from the Gospel according to John (2:1-11).
Veronese was then 43 years old and was the most famous and sought-after painter in Venice. He was known for his grandiose and colorful compositions that mixed biblical and mythological characters with scenes from Venetian life. He had already created several paintings for refectories, such as The Feast in the House of Levi (1573) or The Last Supper (1592).
The painting was completed in September 1563 and installed in the refectory facing a Crucifixion by Tintoretto. It received an enthusiastic reception and was considered a masterpiece of Venetian Mannerism. It remained in Venice until 1797, when it was seized by Napoleon’s troops and sent to Paris. It entered the Louvre Museum in 1801 and remained there despite requests for restitution from Italians. It underwent several restorations over centuries and regained its original splendor in 1992.
Analysis of painting
The painting depicts moment when Jesus changes water into wine at wedding banquet in Cana, Galilee. The scene takes place in Venetian palace adorned with columns and arcades. The composition is organized according to horizontal plan that follows line of table.
In foreground, we see guests sitting or standing around long table covered with white tablecloth. They wear sumptuous clothes and jewelry that testify to their wealth and social rank. They hold cups or dishes in their hands. They express various feelings: joy, surprise, admiration, indifference…
In center, we see Jesus sitting among newlyweds surrounded by his disciples. He is recognizable by his halo and red blue robe. He has serene benevolent expression.
On right, we see steward of feast tasting miraculous wine with amazement. He is accompanied by servant carrying jug water transformed into wine. Behind them we see group musicians playing various instruments: violin flute lute tambourine…
On left we see dog sleeping peacefully under table. It symbolizes conjugal fidelity. Behind him we see group children playing with fruits animals: monkey parrot cat…
In second plan we see landscape extending behind arcades palace. We distinguish fortified city on hill where towers domes rise. We also notice ancient ruins evoking classical culture.The palette of painting is rich harmonious: it mixes warm tones (red orange yellow) cool tones (blue green). Veronese uses oil on canvas technique to create transparency luminosity effects that enhance realism poetry scene. He also takes care with details such as characters animals objects that demonstrate his attentive observation creative imagination.
Interpretation
The Wedding at Cana is typical work in Venetian style characterized by sensual festive beauty form. Veronese expresses his personal vision miracle by staging joyful sumptuous scene.
Veronese does not seek to faithfully illustrate biblical narrative or convey precise religious message. Rather he freely draws inspiration from sacred text to create original profane work. He thus highlights contrast between divine human; between sacred profane; between spiritual material.
Veronese also addresses his patron cultured public who appreciate learned references symbolic allusions. He thus evokes his knowledge ancient art contemporary art; his admiration for Italian Flemish masters; his taste for mythological historical themes.
The Wedding at Cana is therefore remarkable work for its technique expressiveness. It is also emblematic work from Venetian Renaissance testifying to artistic cultural talent of Veronese.
