The Creation of Eve

CC0 Public Domain Designation

Painting and Sculpture of Europe

1570/80

Paolo Caliari, called Veronese
Italian, 1528-1588

Status: Currently Off View
Department: Painting and Sculpture of Europe

Artist: Veronese (Paolo Caliari)
Title: The Creation of Eve
Place: Italy (Artist's nationality)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1565–1575
Medium: Oil on canvas
Dimensions: 81 × 103 cm (31 7/8 × 40 1/2 in.)
Credit Line: Charles H. and Mary F. S. Worcester Collection
Reference Number: 1930.286
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/5096/manifest.json

Daniel Catton Rich, “An Unpublished Veronese in Chicago,” Pantheon 7 (1931), pp. 20–23, ill.
Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1932), pp. 7, 175, ill.
Bernard Berenson, Italian Pictures of the Renaissance (Oxford, 1932), p. 420.
Lionello Venturi, Italian Paintings in America (New York, 1933), pl. 575.
Giuseppe Fiocco, Paolo Veronese (Rome, 1934), p. 127.
Art Institute of Chicago, A Brief Illustrated Guide to the Collections (Chicago, 1935), p. 21.
Bernard Berenson, Pitture italiane del Rinascimento (Milan, 1936), p. 361.
“Robert B. Harshe,” Bulletin of the Art Institute of Chicago 32 (1938), p. 48, ill.
Alfred M. Frankfurter, “Venetian Holiday: XV and XVI Centuries,” Art News 36, 29 (1938), p. 10, 21, ill.
Walter Friedlaender, “Venetian Paintings of the XV and XVI Centuries,” Art in America 26 (1938), p. 131.
 “The Splendor and Color That Was Old Venice,” Art Digest 12, 14 (1938), pp. 5, 28, ill.
Daniel Catton Rich, Catalogue of the Charles H. and Mary F. S. Worcester Collection of Paintings, Sculpture, and Drawings (Chicago, 1938), p. 18, no. 13, pl. XI.
Regina Shoolman and Charles E. Slatkin, The Enjoyment of Art in America (Philadelphia and New York, 1942), pl. 321.
Rodolfo Pallucchini, Veronese, 2nd ed. (Bergamo, 1943), p. 125, ill.
Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago (Chicago, 1948), p. 26, ill.
Lawrence Dame, “Progressive Worcester Museum Celebrates Its Golden Anniversary,” Art Digest 22, 15 (1948), pp. 13, 23, ill.
Frederick A. Sweet, “La pittura italiana all’Art Institute di Chicago,” Le vie del mondo: Rivista mensile del Touring Club Italiano 15 (1953), p. 698.
Louis Réau, Iconographie de l’art chrétien, vol. 2, pt. 1 (Paris, 1956), p. 75.
Bernard Berenson, Italian Pictures of the Renaissance (London, 1957), vol. 1, p. 130; vol. 2, pl. 1094.
Luisa Vertova, “Some Late Works by Veronese,” Burlington Magazine 102 (1960), p. 68.
Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), pp. 38, 462, ill.
Hans Huth, “Italienische Kunstwerke im Art Institute von Chicago, USA,” in Miscellanea Bibliothecae Hertzianae (Munich, 1961), p. 517.
Art Institute of Chicago, Grand Musées 2, (Paris, 1968), pp. 25, 67, ill.
Guido Piovene and Remigio Marini, L’opera completa del Veronese, Classici dell’arte 20 (Milan, 1968), p. 113, no. 159, ill.
John Maxon, The Art Institute of Chicago (New York, 1970), p. 256, ill.
Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Massachusetts, 1972), pp. 39, 253, 570.
Mike and Nancy Samuels, Seeing with the Mind’s Eye: The History, Techniques and Uses of Visualization (New York, 1975), p. 87, ill.
Terisio Pignatti, Veronese (Venice, 1976), vol. 1, pp. 90, 139, no. 190; vol. 2, figs. 486–87.
The Art Institute of Chicago: 100 Masterpieces (Chicago, 1978), pp. 48–49, no. 12, ill.
Detlev von Hadeln, Paolo Veronese, ed. Gunter Schweikhart (Florence, 1978), p. 122, no. 51.
John D. Morse, Old Master Paintings in North America: Over 3000 Masterpieces by 50 Great Artists (New York, 1979), p. 294.
Terisio Pignatti and Filippo Pedrocco, Veronese: Catalogo completo dei dipinti (Florence, 1991), p. 209, no. 132.
Christopher Lloyd, Italian Paintings before 1600 in the Art Institute of Chicago: A Catalogue of the Collection (Chicago, 1993), pp. 285–9, ill.
Terisio Pignatti and Filippo Pedrocco, Veronese, vol. 2 (Milan, 1995), pp. 337–39, ill.
Virginia Brilliant, Italian, Spanish, and French paintings in the Ringling Museum of Art (Sarasota, FL: John and Mable Ringling Museum of Art; New York: in association with Scala Arts Publishers, Inc., 2017), xviii.

Art Institute of Chicago, A Century of Progress, June 1–November 1, 1933, no. 141.
Art Institute of Chicago, A Century of Progress, June 1–November 1, 1934, no. 59.
New York, M. Knoedler and Co., Venetian Paintings of the 15th and 16th Centuries, 1938, no. 21.
Art Institute of Chicago, Masterpiece of the Month, August 1938, no cat.
Worcester Art Museum, Massachusetts, The Art of Europe during the XVI–XVII Centuries, April 11–May 16, 1948, no. 4.
Appleton, Wisconsin, Worcester Fine Arts Center, Lawrence College, 1950, no cat.
Birmingham Museum of Art, Alabama, Veronese and His Studio in North American Collections, October 1–November 15, 1972, no cat. no.; Montgomery Museum of Fine Arts, December 5–December 31, 1972.
Jerusalem, The Israel Museum, Landscape of the Bible: Sacred Scenes in European Master Paintings, September 5, 2000-January 30, 2001, cat. 6.

John Ringling (died 1936), Sarasota, FL and Detlev von Hadeln, Venice and Florence, Italy (died 1935) [both individuals owned ½ share of the work; this and the following according to Julius Böhler inventory card 279-28, Zentralinstitut für Kunstgeschichte, Munich]; sold to Böhler and Steinmeyer (Kunsthandel AG), Lucern, Switzerland, Oct. 1928; sold to Charles H. Worcester, Chicago, Apr. 1930; given to the Art Institute of Chicago, 1930.

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