Paolo Veronese’s Art of Business: Painting, Investment, and the Studio as Social Nexus Author(s): John Garton Reviewed work(s): Source: Renaissance Quarterly, Vol. 65, No. 3 (Fall 2012), pp. 753-808 Published by: The University of Chicago Press on behalf of the Renaissance Society of America Stable URL: http://www.jstor.org/stable/10.1086/668301 . Accessed: 02/10/2012 14:40 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact
[email protected]. The University of Chicago Press and Renaissance Society of America are collaborating with JSTOR to digitize, preserve and extend access to Renaissance Quarterly. http://www.jstor.org Paolo Veronese’s Art of Business: Painting, Investment, and the Studio as Social Nexus* by J OHN G ARTON Despite the prominent career of Paolo (Caliari) Veronese (1528 –88), much remains to be discovered about his patrons and peers. Several letters written by the artist are presented here for the first time, and their recipient is identified as the humanist Marcantonio Gandino. The letters reference artworks, visitors to Veronese’s studio, and economic data pertaining to the painter. Analyzing the correspondence from a variety of methodological viewpoints reveals how Veronese fulfilled commissions, interacted with nobility, and invested his painterly profits in land on the Venetian terraferma.