Cima da Conegliano vs. Cranach, the Elder

Mary and Jesus are essential figures in the Christian religion; they have also often been the subjects of artists worldwide. They have been depicted in almost every scene and at every stage of their life. There are many famous scenes, such as the Annunciation and the Pieta. They have been painted and sculpted. The Madonna and baby Jesus are easily the favorite of Renaissance painters. The works I have chosen to critic are of the Cranach, The Elder. These two pieces from artists of different areas of Europe, Cranach Madonna and Child in a Landscape, by two separate artists, Cima da Conegliano and from Germany and Conegliano form Venice. These paintings are very similar and different at the same time. Both of the works have been viewed all over the world and have storied histories. This paper will explore the artists’ background, the medium and material used, the artists’ styles, and the obvious content of the pieces.

The styles of the artists I have chosen, were greatly influenced, and painted during the High Renaissance. The rationale of these early artists was based on the thought that the depiction be

Cranach’s version shows the same woman holding her child, she may be graceful but she is in no way humble. The eyes of the Madonna are slightly downcast, but her eyes are engaging and her lips are formed into a smile. She seems to have an air of superiority totally opposite of Conegliano’s Madonna. The baby Jesus is very playful and as he holds his apple, he seems to show us that he is very important and deserves and demands our attention. Even the clothing of the Madonna with its’ gold material appears to be more expensive than that of Conegliano’s. The piece is tighter than Conegliano’s and instead of unifying the painting the Madonna dominates the surroundings. The painting is also not as soft as Conegliano’s version, and has a grainy feel.

auty by itself was evil and that artists should attain a higher spiritual level that would emanate through the paintings and sculptures. These artists revolutionized painting by combining pigment with linseed oil, this enabled them to spend hours and even years on paintings and make wholesale changes. These artists also were commissioned by patrons who were devout to the Catholic Church. Artists who followed this ideal where considered to be different from everyone else and placed on a pedestal. Both Conegliano and Cranach, The Elder followed the styles of the northern Italian painters, such as Durer and Bellini. These artists made paintings that so much depth that they gained a three-dimensional appearance. They concentrated on scenic paintings and portraits rather than the epic frescos of Michelangelo, and Raphael.

Giovanni Battista Cima da Conegliano was born in Italy, and he lived from 1459 to 1517 /18. Battista’s name comes from his town of birth Conegliano and from his father’s trade as a cimator (cloth- sheerer). Cima da Conegliano became a painter and made a name for himself throughout Venice. He studied under Italian painters Bartolommeo Montagna and Giovanni Bellini. Early in his career Cima da Conegliano gave evidence of the future of his work, while his figures were crude and harsh, he still showed them with a serious calm and passionless spirit. Cima da Conegliano was one of the first painters to incorporate visible landscapes in his paintings. Conegliano also assigned atmospheric qualities of light

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