Cima da Conegliano
1459 (Conegliano) / entre 1517-1518 (Conegliano)
"The career of Cima da Conegliano exposes the springs of a painter's career attracted by his talents in the city of Venice at the height of its power. Originally from a village on the slopes of the Dolomites, which gave him his patronymic, Giovanni Battista Cima opened a workshop in Venice, which was prosperous enough in 1489 to fulfill a commission for an altarpiece from the chapter of San Bartolomeo in Vicenza, a Madonna and Child between the Apostle James and Saint Jerome. Before this date, the historian is condemned to conjecture; all he knows is that his name comes from the profession of his father and his forefathers, shearers of woolen cloth, Cimatori. Son of craftsmen, he settled in the epicenter of Levantine commerce and became involved with the renovators of painting, borrowing the best from his contemporaries: formulas from Giovanni Bellini, his elder by twenty years, and techniques from Antonello of Messina, who could very well have revealed to him the secrets of oil painting, a technique that was still, at that time, the monopoly of the Flemish school."
Extract from the article by Vincent Quéau published in the N°47 of the magazine Art Absolument: publication on April 27, 2012
"The career of Cima da Conegliano exposes the springs of a painter's career attracted by his talents in the city of Venice at the height of its power. Originally from a village on the slopes of the Dolomites, which gave him his patronymic, Giovanni Battista Cima opened a workshop in Venice, which was prosperous enough in 1489 to fulfill a commission for an altarpiece from the chapter of San Bartolomeo in Vicenza, a Madonna and Child between the Apostle James and Saint Jerome. Before this date, the historian is condemned to conjecture; all he knows is that his name comes from the profession of his father and his forefathers, shearers of woolen cloth, Cimatori. Son of craftsmen, he settled in the epicenter of Levantine commerce and became involved with the renovators of painting, borrowing the best from his contemporaries: formulas from Giovanni Bellini, his elder by twenty years, and techniques from Antonello of Messina, who could very well have revealed to him the secrets of oil painting, a technique that was still, at that time, the monopoly of the Flemish school."
Extract from the article by Vincent Quéau published in the N°47 of the magazine Art Absolument: publication on April 27, 2012
Artist's exhibitions
Cima da Conegliano. Maître de la Renaissance vénitienne.
05/04/2012 - 15/07/2012(Paris) Musée du Luxembourg