in the town of Conegliano at Palazzo Sarcinelli until June 2nd 2010.
Conegliano is 1h only by train from Venice.
This exhibit is a great opportunity to see a good selection of Cima’s altarpieces and other works in his native city.
Cima, one of the top painters in late ‘400s in Venice’s artistic scene, kept moving along the traditional formula of a group of saints next to Mary or Christ although he brought landscape to a larger scale on paintings. Beautifully drawn and defined by clarity, landscapes become then a pure source of poetry making the natural world the right place for the heavenly characters to show to us.
After viewing the exhibit get to the top of Conegliano’s citadel and from the tower enjoy a great view of both the plain and the early mountain slopes and see with Cima’s eyes the sourroundings he got inspired from.
Cima da Conegliano 1459 - 1517
Born in the town of Conegliano, located at 53 km north of Venice in the province of Treviso, he came to settle in Venice in the mid 1480s where he led his professional life as a major producer of altarpieces. Main subject in his works is a Virgin with Child enthroned with Saints, a sacra conversazione, but also including narrative scenes as in the ?Incredulity of san Thomas'. Cima worked for churches and brotherhoods in Venice but a large number of his altarpieces was also painted for provincial destinations in northern Italy and Veneto. Another main section of his activity was the production of half-length Madonnas for private devotion. All in all Cima’s works remain rooted in the venetian quattrocento painting mainstream started in the 1470s and 80s by Giovanni Bellini although he introduced landscape backgrounds more consistently than him. His great chance took place when the Bellinis where busy decorating the Great Council Hall in the Ducal Palace and overwhelmed by commissions so he could affirm himself as a top artist in Venice in the last two decades of the 400s and beyond. Most of his works were executed on panels with smooth and meticulous application of paint allowing great precision and refinement.
Altarpieces were in great demand in the period examined. Private citizens, brotherhoods and confraternities, local parish communities they all were asking this beautiful wooden panels meant as altar ornaments where social, personal and religious values mixed in a perfect blend. Unfortunately most of them are now out of place, in local museums mainly and out of their original context , the specific altar and church for which they were conceived.
If you like Cima let www.aguideinvenice.com organize a tour for you based on his works in Venice.
Works of Cima in Venice:
Church of Madonna dell’Orto, Cannaregio.
Altarpiece. ‘John the Baptist with Peter, Mark, Gerome and Paul’ in situ.
Church of Madonna dei Carmini, Dorsoduro
Altarpiece. ‘Adoration of the shepherds’ in situ
Church of saint John the Baptist (la Bragora), Castello.
Altarpiece. 'The Baptims of Christ' in situ
Altarpieces. ‘Mary of the orange tree’. – ‘The Incredulity of san Thomas’ – ‘Virgin with saints’