A succession of victories, many by his personal bravery and leadership from the front. But ultimately they were unsuccessful – and Pyrrhic.
Some of his best paintings of his partner for almost 50 years, in the bath, on the bed, at the table, or just walking around the house.
He completes his work for the Albergo at San Rocco with three scenes from the Passion, and paints a votive showing the Madonna and Child with three contemporary fiscal administrators in Venice.
Even Poussin used this narrative form. Here are other example right up to 1947, including paintings by Corot, Munch, Corinth, and others.
Great paintings by Botticelli, Bosch, Titian, Tintoretto, the Carraccis, and others, showing multiplex narrative.
Showing two or more scenes from the same story in a single painting (multiplex narrative) is common, effective, and good art. Examples from Masaccio, Memling, Bosch, and more.
He’d been trying to get a commission since 1549. Then in 1564, he pre-empted a competition, and painted 23 works for a single room, including his vast Crucifixion, 12 m (40 feet) across.
Some religious stories which may have had personal relevance, and conclusions to his series of Roman spectacles, and his sculpture. Finally, a joke which may have inspired the Surrealists.
Paintings of exuberant brilliant yellow mimosa, bleak self-portraits, and his favourite views around Le Cannet from his final years.
The less famous Wedding at Cana which preceded that of Veronese; two Assumptions, a Last Supper which still shocked Ruskin 300 years later, and episodes from the story of Saint Mark.