Giovanni Battista Cima

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Cima, Giovanni Battista


(also Cima da Conegliano). Born circa 1459 in Conegliano, Treviso Province; died there 1517 or 1518. Italian Renaissance painter of the Venetian school.

Cima’s early career was influenced by Bellini and Antonello da Messina. Later influences were Giorgione and Titian. Cima’s paintings were characterized by a rich golden palette, majestic simplicity of human forms, and subtle expression of the poetic bond between nature and man. Examples are The Baptism (1494, Church of San Giovanni in Bragora, Venice), The Entry Into the Temple (Picture Gallery, Dresden), and Annunciation (1495, Hermitage, Leningrad).


Coletti, L. Cima da Conegliano. Venice, 1959.
Menegazzi, L. Cima da Conegliano: Catalogo Mostra di Treviso. Venice, 1962.
References in periodicals archive ?
1870) shares more common ground with Renaissance allegories by the painter Cima da Conegliano (Endymion, ca.
Over the past 100 years, historians have attributed the Poliphilo woodcuts to many different artists, including the painters Bonconsigli, Giovanni and Gentile Bellini, Botticelli, Bartolomeo and Benedetto Montagna, Palma Vecchio, Cima da Conegliano, Franco Francia, Titian, Benozzo Gozzoli and Pinturricchio, and Agabiti; the medalists Peregrini and Sperandio; the printmakers Giulio Campagnola, Jacopo de' Barbari, an anonymous `Dolphin Master;' and the miniaturists the `Second Grifo Master' and Benedetto Bordon.
Attribution to Cima is summarized by Peter Humfrey, who rejects it, in Cima da Conegliano (Cambridge: Cambridge University Press, 1983), 191, cat.
10 Cima da Conegliano Musee du Luxembourg Paris www.
Cima da Conegliano, one of the leading Venetian painters of the late 15th and early 16th century, is celebrated for his poetic compositions and refined technique.
A familiar image--not least because another signed version of this Madonna and Child by Cima da Conegliano hangs in the National Gallery in London--it is one of a group of similar compositions, each with a different landscape background (Cima invariably incorporated views of his beloved Conegliano and its environs in his altarpieces).