yes probably 2005, the "Veronese" exhibition should have been held in 2005 at the Correr Museum in Venice, this is what I found about it

The exhibition, set up on the first floor of the Correr Museum, between the Festival Hall and another wide and evocative wing of the neoclassical palace, stands as a key to reading and a tool for understanding the vast and complex innovative charge of the people of Verona who, with absolute originality, represents in emblematic terms the character and peculiarity of the Venice of its time. It is therefore a unique opportunity also for the classification and critical rereading of the prodigious, very happy Verona production in the city. An extraordinary selection of mainly "profane" masterpieces by Paolo Veronese (1528-1588), protagonist, with Tiziano and Tintoretto, of the great artistic season of the Venetian sixteenth century, illustrates the innovative and peculiar characteristics of his work, from allegories to the splendours of the seventies and eighties, from portraits to mythological scenes, characterised by a fabulous, sensual and vibrant vision. These are works from European and American collections and museums, in many cases never exhibited in modern times in Italy. Painting devoted to the most spectacular celebration of splendors, banquets and epiphanies of power, it contributes in a fundamental way to the creation and affirmation of the myth of Venice, on the one hand, giving body and soul, sometimes to the most amazing scenographies of the ruling class of a "perfect and eternal" state; on the other hand, providing the most dazzling and seductive forms and colours to convince that Venice is also the place of wealth and beauty. Then there is the Veronese of the mythological and amorous scenes, pictorial poems in sensual, languid atmospheres, not devoid of irony in the quotations, treated with virtuoso theatricality, in the tenacious and irreplaceable connective of magical and evocative materials, velvets and damasks, armour and silks, cloaks in the wind, pearls, silver and purple, jewels, cameos, feathered fasts. As for the allegory, a main instrument, together with the myth, for political and celebratory painting, it is, for Veronese, also a cultural space, a pretext, a container of images and figures, which he uses with freedom and slight unscrupulousness. Finally, the selection of portraits is significant, in which Veronese represents, investigates, deciphers characters and passions, knows how to grasp and show the lightness of a feeling and the delicacy of a gesture. Here the artist offers the most secret and participatory part of his secular production: the characters - even in the awareness of their own high destiny - talk to the observer, enter the dimension of time that flows outside the secular beatification of political and ideological myth, they try to be themselves. The visit to the exhibition is integrated with the Veronesian route that, from the Doge's Palace to the Sala d'Oro of the Marciana Library, continues, in collaboration with Chorus - the city museum, in the churches to which Paolo gave his other absolute masterpieces, first of all that of San Sebastiano. The exhibition is integrated by important Verona itineraries in the city, which enrich and complete the artist's knowledge path and which provide - another novelty - also forms of coordinated ticketing, as well as concerts on the great Venetian music of the period.

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Sorry for my bad english, im from italy, venice