Never previously popular except as illustrations, paintings of fables became common in the Dutch Golden Age, and again in the work of a great animal painter around 1750.
narrative
Two more informal Last Suppers, a votive of the Doge who ruled Venice at the time, and the perils of black grounds.
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.
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.
Rembrandt’s masterpiece looking deep into Bathsheba’s predicament, but it was von Stuck who first suggested that she may have been a willing participant.
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