An artwork on Galleree from Minneapolis Institute of Art.
About the artwork
Madonna and Childprobably between 1500 and 1504
Artist: Giovanni Battista Cima da Conegliano
Italian (Venice), c. 1459–c. 1517
9 x 7 3/8 x 1/4 in. (22.86 x 18.73 x 0.64 cm) (canvas)
15 x 13 1/8 x 2 3/8 in. (38.1 x 33.34 x 6.03 cm) (outer frame)
Oil on panel
Painting
Italy
16th century
Given in memory of Mr. and Mrs. Frederic W. Clifford by their children
As the dawn of the 16th century broke over Italy, a remarkable shift was taking place in the world of art. Painters were crafting a new reality, breathing life into their works by capturing the fullness of three-dimensional forms. Amid this artistic revolution, one painter stood quietly yet confidently in the foreground—Cima.
Imagine walking into a softly lit room where a piece of art beckons from the wall. There, in a simple composition, stands the Virgin and Child. Cima's brush strokes have conjured their essence with clarity and depth, forming volumes that resist the confines of the canvas. The figures are not adorned with gilded halos or ethereal beauty; instead, they resonate with the profound authenticity of humankind.
In this intimate portrayal, the Madonna is depicted as a large-handed peasant woman, embodying the rustic dignity of her humble origins. Her hands—capable and nurturing—speak of unwavering maternal devotion, the kind that has been passed down through generations. She cradles the Christ child, whose nakedness symbolizes innocence and unblemished truth, a poignant reminder of purity in a world often tinged with complexity.
As your gaze travels downwards, you find a ledge that subtly divides the sacred from the earthly, a gentle boundary delineating the intimate space where the Virgin and Child reside. Beyond them, the landscape unfurls, echoing the rugged beauty of Cima's hometown, Conegliano, nestled in the tranquil alpine region of northern Italy. The lush greens and earthy tones seem to whisper of the mundane yet sacred moments of life that lie in the shadows of greatness.
Though Cima is celebrated for the many half-length Madonnas that grace the prominent churches and civic buildings of Venice, this particular piece tells a different tale. Its smaller size signifies a departure; rather than adorning a grand religious space, it was lovingly crafted for a household altar, a testament to the deep spirituality cherished in the privacy of home.
In a world burgeoning with art, Cima's work stands still, inviting us to pause, reflect, and appreciate the beauty in our humanity—the simple yet profound connection we share with the sacred and the ordinary.
About the artist
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