#Cima da Conegliano

[i-love-this-art]

Giovanni Battista Cima, also called Cima da Conegliano / "Saint Sebastian" / ab. 1500-1502 / Musée des Beaux-Arts de Strasbourg

[granstromjulius]

Cima da Conegliano

[illustratus]

David and Jonathan by Cima da Conegliano

[koredzas]

Cima da Conegliano - Virgin and Child. 1485 - 1486

[peoplematchingartworks]

[byneddiedingo]

 koredzas

Cima da Conegliano - The Annunciation. 1500

[christliche-kunstwerke]

Thronende Madonna mit Kind und Heiligen Petrus, Romualdus, Benedikt und Paul von Cima da Conegliano

Öl auf Holz, 1495

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Cima da Conegliano, Sacra Conversazione/The Rest on the Flight into Egypt

Museu Calouste Gulbenkian, Lisbon

[mea-gloria-fides]

The Baptism of Christ: Giovanni Battista Cima da Conegliano, c. 1493-4.

[ibarbouron-us]

La bendición de Cristo.

Cima da Conegliano, Giovanni Battista (1459/60–1517/18) -

[yousaucygirl]

Adding to both the Birth and Death of Christ, we have God the Frogger

[Based on God the Father by Cima da Conegliano circa 1510-1517]

[mishimamiravenecia]

The Lion of Saint Mark between Saints John the Baptist, Mark, Mary Magdalene and Jeronimo - Cima da Conegliano, (1459–1517) - Gallerie dell'Accademia, Venice.

(Español / English)

Durante las épocas medieval y moderna, la mayoría de los artistas europeos no tenían forma de ver a un 𝗹𝗲𝗼𝗻 en carne y hueso.

Sin embargo, el animal era tan omnipresente en el simbolismo artístico y en el arte occidental que la ausencia de leones de carne y hueso se compensaba fácilmente con las casi infinitas representaciones que se hicieron a partir del arte clásico. Esto permitió representar animales convincentes incluso para nuestros estándares, como demuestra este león de S.Marco de 𝗖𝗶𝗺𝗮 𝗱𝗮 𝗖𝗼𝗻𝗲𝗴𝗹𝗶𝗮𝗻𝗼 (1459–1517).

Al tener que pintar el símbolo por excelencia de la Serenísima, que gustaba de identificarse con el león alado asociado al evangelista Marcos, el artista renacentista no renunció a su búsqueda de una representación realista del animal.

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During the medieval and modern ages, most European artists had no way of seeing a 𝗹𝗲𝗼𝗻𝗲 in the flesh.

The animal was, however, so ubiquitous in artistic symbolism and Western 𝗮𝗿𝗮𝗹𝗱𝗶𝗰𝗮 that the absence of flesh and blood lions was easily compensated for by the almost endless depictions that were made from classical art onwards. This made it possible to depict convincing animals even by our standards, as this Saint Mark lion from 𝗖𝗶𝗺𝗮 𝗱𝗮 𝗖𝗼𝗻𝗲𝗴𝗹𝗶𝗮𝗻𝗼 (1459–1517) demonstrates.

Having to paint the symbol par excellence of the Serenissima, which liked to identify itself with the winged lion associated with the evangelist Mark, the Renaissance artist did not give up his quest for a realistic depiction of the animal.

[granstromjulius]

Giovanni Battista Cima da Conegliano

[joseandrestabarnia]

TÍTULO: Virgen con el Niño entronizada y los Santos Sebastián, Juan Bautista, María Magdalena, Rocco y miembros de la Cofradía de San Juan Evangelista AUTOR: Cima da Conegliano (Giovanni Battista Cima) FECHA: 1487 - 1488 MATERIAL Y TÉCNICA: Técnica mixta sobre lienzo DIMENSIONES: 301x211 cm INVENTARIO: 5975 El retablo fue realizado entre 1487 y 1488 para el altar de San Giovanni Battista de la catedral de Oderzo, cerca de Treviso, por encargo de la hermandad que tenía la custodia del altar. En esta temprana obra de Cima, entre la Virgen y los santos, se sitúan las figuras de los clientes, minúsculas, según la costumbre medieval que hacía corresponder la importancia jerárquica a la dimensión física. Algunos de ellos visten el hábito y capirote blanco de flagelantes. La escena unitaria se encuentra bajo un dosel abierto, que permite la representación del mundo natural y la representación de efectos luminosos de diferentes tonalidades, particularmente apreciados por los pintores venecianos.

Información e imagen de la Pinacoteca de Brera.

[koredzas]

Cima da Conegliano - Wedding of Bacchus and Ariadne. Detail. 1504

[maypoleman1]

18th August

St Helen’s Day

Cima da Conegliano by Giovanni Battista. Source: Britannica.com

Today is St Helen’s (or St Helena’s) Day. Helen was the fiercely Christian mother of the Roman Emperor Constantine I, the first Christian Emperor, who on a trip to the Holy Land in 326, personally located the True Cross of Christ which she brought back in triumph to Rome (it was later transferred by her son to the new capital of the Empire, Constantinople). Given Helen’s impeccable Roman and Middle Eastern pedigree, it is curious that a number of English curative wells are named after her, notably the one at Walton, near Wetherby in Yorkshire. The Walton well is supposed to be good for curing eye ailments, particularly if the supplicants rub their infected eyes with a rag and then pin it to the well, in an exercise in sympathetic magic. Perhaps the St Helen connection is not so mysterious - her name sounds enough like the Celtic water-goddess Elen for ownership of places of curative magic to transfer to an imperial Christian saint.

Further pagan remembrances are associated with the skull of Theophilus Brome who died on this day in 1670 at Chilton Cantelo in Somerset. His skull put down roots in the house and could not be moved, the legend says, and when later tenants of the house tried to bury it, the skull let out a mournful and terrifying wail. The head was then left in peace until the early nineteenth century when it was briefly converted into a drinking vessel. These type of skull stories were an echo of ancient Celtic beliefs that the severed head possessed magical powers. If one drunk from a skull, the headhunting Celts believed, the virtues and courage of the deceased would pass to the imbiber.