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100% hand painted, 100% cotton canvas,
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CIMA da Conegliano
Italian Painter, ca.1459-1517
Italian painter. He belonged to the generation between Giovanni Bellini and Giorgione and was one of the leading painters of early Renaissance Venice. His major works, several of which are signed, are almost all church altarpieces, usually depicting the Virgin and Child enthroned with saints; he also produced a large number of smaller half-length Madonnas. His autograph paintings are executed with great sensitivity and consummate craftsmanship. Fundamental to his artistic formation was the style that Bellini had evolved by the 1470s and 1480s; other important influences were Antonello da Messina and Alvise Vivarini. Although Cima was always capable of modest innovation, his style did not undergo any radical alteration during a career of some 30 years, and his response to the growing taste for Giorgionesque works from the early 16th century remained superficial. He seems to have maintained a sizeable workshop,
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The_Incredulity_of_St._Thomas_with_St._Magno_Vescovo_fg
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c._1505
Tempera_and_oil_on_panel,_215_x_151_cm
Gallerie_dell'Accademia,_Venice
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Click to Enlarge
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The Incredulity of St. Thomas with St. Magno Vescovo fg
c. 1505
Tempera and oil on panel, 215 x 151 cm
Gallerie dell'Accademia, Venice
Painting ID:: 6035
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| c. 1505
Tempera and oil on panel, 215 x 151 cm
Gallerie dell'Accademia, Venice |
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CIMA da Conegliano
Italian Painter, ca.1459-1517
Italian painter. He belonged to the generation between Giovanni Bellini and Giorgione and was one of the leading painters of early Renaissance Venice. His major works, several of which are signed, are almost all church altarpieces, usually depicting the Virgin and Child enthroned with saints; he also produced a large number of smaller half-length Madonnas. His autograph paintings are executed with great sensitivity and consummate craftsmanship. Fundamental to his artistic formation was the style that Bellini had evolved by the 1470s and 1480s; other important influences were Antonello da Messina and Alvise Vivarini. Although Cima was always capable of modest innovation, his style did not undergo any radical alteration during a career of some 30 years, and his response to the growing taste for Giorgionesque works from the early 16th century remained superficial. He seems to have maintained a sizeable workshop,
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ARTISTS INDEX A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
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