The work of Cima da Conegliano

　　西瑪達(dá)科內(nèi)利亞諾的作品;

　　An overlooked master;Venice comes to Paris;

　　沙海遺珠;威尼斯走向巴黎;

　　Tall, lean and with a head of brown curls, St Johnthe Baptist s intense expression seizes the viewer sgaze. The enthroned Virgin holding the Christ childmay be the subject of this late-15th-centurypainting, yet the eye is drawn to the saint. He feels real, somehow, with themagnetism of a rock star. This is a quality foundin many of the saints portrayed by Giovanni Battista Cima, called Cima da Conegliano.

　　高大瘦削，一頭棕色的卷發(fā)，施洗者圣約翰緊張的表情抓住了觀眾的目光。圣母抱著圣嬰可能是這幅十五世紀(jì)晚期繪畫(huà)的主題，但人們的視線還是被圣徒吸引。不知怎的，他讓人感覺(jué)真實(shí)，有搖滾巨星般的吸引力。這是被稱為西瑪達(dá)科內(nèi)利亞諾的喬瓦尼巴蒂斯塔西瑪所繪眾多圣徒身上共有的特質(zhì)。

　　Readers can be forgiven for not recognising the name. Born in 1459, Cima became a painterduring the blossoming of the Italian Renaissance. It was an inspiring time to be an artist,but the competition was fierce. He worked in Venice, where Giovanni Bellini was alreadyestablished. By the time Cima died in 1517/18, Giorgione and Titian had made their marks.The fame of these artists has overshadowed Cima s. It is a shame. Bernard Berenson, one ofthe most influential writers on the Venetian Renaissance, said of him: No other master ofthat time paints so well the pearly light that models the Italian landscape with a peculiarlightness and breadth. Cima s depiction of the landscape influenced his more famouscontemporaries. Now visitors to Paris are being offered the chance to make hisacquaintance. Cima da Conegliano: Master of the Venetian Renaissance at theLuxembourg Museum is a wonderful show.

　　讀者沒(méi)聽(tīng)過(guò)這個(gè)名字可以諒解。西瑪出生于1459，是意大利文藝復(fù)興全盛時(shí)期的畫(huà)家。這一時(shí)期是藝術(shù)家輩出的時(shí)代，但競(jìng)爭(zhēng)激烈。他曾在威尼斯作畫(huà)，而喬瓦尼貝利尼已在威尼斯大放異彩。到1517 /18年西瑪去世的時(shí)候，喬爾喬內(nèi)和提香也成名了。這些藝術(shù)家的名聲蓋過(guò)了西瑪。這是一個(gè)憾事。伯納德貝倫森是威尼斯文藝復(fù)興方面最有影響力的作家之一，他說(shuō)：當(dāng)時(shí)沒(méi)有別的大師可以用獨(dú)特的淺淡顏色以及幅寬把意大利風(fēng)景畫(huà)得如此流光溢彩。西瑪對(duì)風(fēng)景的描畫(huà)影響了比較有名的同代人。現(xiàn)在巴黎的游客有了了解西瑪?shù)臋C(jī)會(huì)。盧森堡博物館的畫(huà)展《西瑪達(dá)科內(nèi)利亞諾：威尼斯文藝復(fù)興時(shí)期的大師》是一場(chǎng)精彩的展覽。

　　Cima painted in tempera and oil on wood. Such pictures are notoriously fragile, yet thisexhibition features 30 works, all of them on wood panels. The loans have come fromchurches, museums and private collectionsevidence of the diplomatic talents of GiovanniVilla, the show s curator. They include half-lengths of the Virgin and Child made for privatedevotion; full-sized portrayals of saints; and scenes from classical mythology, includingTheseus slaying a rather handsome minotaur. The smaller pictures are gripping, but thelarge altar paintings are the main attraction. Many hang on free-standing panels, and theirwarm, rich colours sing out in rooms of slate grey. The show is big enough to suggest theartist s range, but small enough to encourage private contemplation. Cima has capturedthe light and mood of the Veneto. Paris falls away and the visitor is transported to Venice.

　　西瑪用油彩在木材上作畫(huà)。眾所周知，這種畫(huà)十分嬌貴，而本次展覽展出的30件作品全放在木制嵌板上。展出的畫(huà)都是從教堂、博物館和私人收藏借來(lái)的，顯示了展覽策展人喬瓦尼費(fèi)拉的外交才干。這批畫(huà)包括畫(huà)來(lái)送人的圣母圣嬰半身肖像畫(huà);還有圣徒的全身肖像畫(huà);以及古典神話中的場(chǎng)景，其中有忒修斯殺死一個(gè)相當(dāng)漂亮的人身牛頭怪物。小幅的畫(huà)扣人心弦，而大型的圣壇畫(huà)更具吸引力，是主要吸引參觀者的畫(huà)作。許多畫(huà)掛在獨(dú)立的嵌板上，它們豐富的暖色在瓦灰色的展室里綻放。這場(chǎng)展覽規(guī)模大到足以表明藝術(shù)家的定位，但也小到足以引人沉思。西瑪捕捉到了意大利威尼托區(qū)的光線和色調(diào)。巴黎消失了，參觀者被送到了威尼斯。

　　The show opens with Jacopo de Barbari s famous bird s-eye view of the city. This enormousmap, a masterpiece of Renaissance printmaking, was published in 1500 when Cima livedthere. A small copy pinpoints Cima sites, including that of his studio in San Luca near theRialto Bridge.

　　畫(huà)展以雅格布德巴巴里著名的威尼斯鳥(niǎo)瞰圖開(kāi)始。這個(gè)巨大的地圖是文藝復(fù)興時(shí)期的版畫(huà)杰作，1500年西瑪住在威尼斯的時(shí)候出版的。在一幅小型復(fù)制圖上用針標(biāo)出了西瑪住所的精確位置，包括他在里亞爾托橋附近圣盧卡的工作室位置。

　　The altar painting of the Virgin mentioned above soon follows. It was commissioned for theDuomo in Cima s hometown, and has remained in that Conegliano church since 1492. Somecomplain that church art loses its force when displayed out of context. Yet each element,from the stylised foliage of the dome above to the angel musicians below, is far easier to seeand appreciate in Paris than it is in Conegliano. Cima often painted the same models. Theviewer meets St John the Baptist, St Catherine and St Jerome more than oncewalking through this show. The result is a warm and welcome sense of familiarity, ratherthan the feeling that one is looking at actors in a series of religious tableaux.

　　上面提到的圣母瑪利亞的圣壇畫(huà)緊隨其后。這幅畫(huà)是受托為西瑪家鄉(xiāng)的大教堂畫(huà)的，自1492年起一直保存在科內(nèi)利亞諾教堂。有人抱怨說(shuō)，脫離了背景進(jìn)行展示，教堂藝術(shù)就失去了它的感染力。然而，從上面圓頂千篇一律的葉飾到下面的天使音樂(lè)家，每個(gè)元素在巴黎都比在科內(nèi)利亞諾更容易領(lǐng)會(huì)欣賞。西瑪經(jīng)常畫(huà)相同的畫(huà)面形象。看過(guò)整個(gè)展覽的觀眾會(huì)不止一次地見(jiàn)到圣約翰、圣凱瑟琳和圣杰羅姆。結(jié)果觀眾感到的是溫暖愉悅的熟悉感，而不是那種在一系列宗教舞臺(tái)造型中看著演員的感覺(jué)。

　　The exhibition ends as it begins, with Venice. In a very large work, the winged lion of StMarksymbol of both the saint and the city he foundedfills most of the painting. The foursaints who flank him appear pint-sized in comparison. Whatever else the picture was meantto signify, it is plain that the aim was to show the overwhelming power of Venice. BubblyProsecco, a better-known product of Conegliano, is for sale in the museum shop. New and oldadmirers of Cima may well wish to raise a glass to this underappreciated master.

　　展覽以威尼斯開(kāi)始，也以威尼斯來(lái)結(jié)束。在一件非常大型的作品中，圣馬可的飛獅填滿了大部分畫(huà)面，這個(gè)飛獅既是圣馬可的標(biāo)識(shí)，也是他所守護(hù)的城市威尼斯的標(biāo)識(shí)。比較而言飛獅側(cè)面的四個(gè)圣徒看起來(lái)比標(biāo)準(zhǔn)的要小一些。不管這幅畫(huà)還意指別的什么，顯然其目的是為了顯示威尼斯的征服力。博物館的商店內(nèi)出售普羅賽克香檳酒，該酒科內(nèi)利亞諾較知名的產(chǎn)品。西瑪?shù)男吕铣绨菡咭苍S很希望為這個(gè)懷才不遇的大師舉杯。

　　The work of Cima da Conegliano

　　西瑪達(dá)科內(nèi)利亞諾的作品;

　　An overlooked master;Venice comes to Paris;

　　沙海遺珠;威尼斯走向巴黎;

　　Tall, lean and with a head of brown curls, St Johnthe Baptist s intense expression seizes the viewer sgaze. The enthroned Virgin holding the Christ childmay be the subject of this late-15th-centurypainting, yet the eye is drawn to the saint. He feels real, somehow, with themagnetism of a rock star. This is a quality foundin many of the saints portrayed by Giovanni Battista Cima, called Cima da Conegliano.

　　高大瘦削，一頭棕色的卷發(fā)，施洗者圣約翰緊張的表情抓住了觀眾的目光。圣母抱著圣嬰可能是這幅十五世紀(jì)晚期繪畫(huà)的主題，但人們的視線還是被圣徒吸引。不知怎的，他讓人感覺(jué)真實(shí)，有搖滾巨星般的吸引力。這是被稱為西瑪達(dá)科內(nèi)利亞諾的喬瓦尼巴蒂斯塔西瑪所繪眾多圣徒身上共有的特質(zhì)。

　　Readers can be forgiven for not recognising the name. Born in 1459, Cima became a painterduring the blossoming of the Italian Renaissance. It was an inspiring time to be an artist,but the competition was fierce. He worked in Venice, where Giovanni Bellini was alreadyestablished. By the time Cima died in 1517/18, Giorgione and Titian had made their marks.The fame of these artists has overshadowed Cima s. It is a shame. Bernard Berenson, one ofthe most influential writers on the Venetian Renaissance, said of him: No other master ofthat time paints so well the pearly light that models the Italian landscape with a peculiarlightness and breadth. Cima s depiction of the landscape influenced his more famouscontemporaries. Now visitors to Paris are being offered the chance to make hisacquaintance. Cima da Conegliano: Master of the Venetian Renaissance at theLuxembourg Museum is a wonderful show.

　　讀者沒(méi)聽(tīng)過(guò)這個(gè)名字可以諒解。西瑪出生于1459，是意大利文藝復(fù)興全盛時(shí)期的畫(huà)家。這一時(shí)期是藝術(shù)家輩出的時(shí)代，但競(jìng)爭(zhēng)激烈。他曾在威尼斯作畫(huà)，而喬瓦尼貝利尼已在威尼斯大放異彩。到1517 /18年西瑪去世的時(shí)候，喬爾喬內(nèi)和提香也成名了。這些藝術(shù)家的名聲蓋過(guò)了西瑪。這是一個(gè)憾事。伯納德貝倫森是威尼斯文藝復(fù)興方面最有影響力的作家之一，他說(shuō)：當(dāng)時(shí)沒(méi)有別的大師可以用獨(dú)特的淺淡顏色以及幅寬把意大利風(fēng)景畫(huà)得如此流光溢彩。西瑪對(duì)風(fēng)景的描畫(huà)影響了比較有名的同代人。現(xiàn)在巴黎的游客有了了解西瑪?shù)臋C(jī)會(huì)。盧森堡博物館的畫(huà)展《西瑪達(dá)科內(nèi)利亞諾：威尼斯文藝復(fù)興時(shí)期的大師》是一場(chǎng)精彩的展覽。

　　Cima painted in tempera and oil on wood. Such pictures are notoriously fragile, yet thisexhibition features 30 works, all of them on wood panels. The loans have come fromchurches, museums and private collectionsevidence of the diplomatic talents of GiovanniVilla, the show s curator. They include half-lengths of the Virgin and Child made for privatedevotion; full-sized portrayals of saints; and scenes from classical mythology, includingTheseus slaying a rather handsome minotaur. The smaller pictures are gripping, but thelarge altar paintings are the main attraction. Many hang on free-standing panels, and theirwarm, rich colours sing out in rooms of slate grey. The show is big enough to suggest theartist s range, but small enough to encourage private contemplation. Cima has capturedthe light and mood of the Veneto. Paris falls away and the visitor is transported to Venice.

　　西瑪用油彩在木材上作畫(huà)。眾所周知，這種畫(huà)十分嬌貴，而本次展覽展出的30件作品全放在木制嵌板上。展出的畫(huà)都是從教堂、博物館和私人收藏借來(lái)的，顯示了展覽策展人喬瓦尼費(fèi)拉的外交才干。這批畫(huà)包括畫(huà)來(lái)送人的圣母圣嬰半身肖像畫(huà);還有圣徒的全身肖像畫(huà);以及古典神話中的場(chǎng)景，其中有忒修斯殺死一個(gè)相當(dāng)漂亮的人身牛頭怪物。小幅的畫(huà)扣人心弦，而大型的圣壇畫(huà)更具吸引力，是主要吸引參觀者的畫(huà)作。許多畫(huà)掛在獨(dú)立的嵌板上，它們豐富的暖色在瓦灰色的展室里綻放。這場(chǎng)展覽規(guī)模大到足以表明藝術(shù)家的定位，但也小到足以引人沉思。西瑪捕捉到了意大利威尼托區(qū)的光線和色調(diào)。巴黎消失了，參觀者被送到了威尼斯。

　　The show opens with Jacopo de Barbari s famous bird s-eye view of the city. This enormousmap, a masterpiece of Renaissance printmaking, was published in 1500 when Cima livedthere. A small copy pinpoints Cima sites, including that of his studio in San Luca near theRialto Bridge.

　　畫(huà)展以雅格布德巴巴里著名的威尼斯鳥(niǎo)瞰圖開(kāi)始。這個(gè)巨大的地圖是文藝復(fù)興時(shí)期的版畫(huà)杰作，1500年西瑪住在威尼斯的時(shí)候出版的。在一幅小型復(fù)制圖上用針標(biāo)出了西瑪住所的精確位置，包括他在里亞爾托橋附近圣盧卡的工作室位置。

　　The altar painting of the Virgin mentioned above soon follows. It was commissioned for theDuomo in Cima s hometown, and has remained in that Conegliano church since 1492. Somecomplain that church art loses its force when displayed out of context. Yet each element,from the stylised foliage of the dome above to the angel musicians below, is far easier to seeand appreciate in Paris than it is in Conegliano. Cima often painted the same models. Theviewer meets St John the Baptist, St Catherine and St Jerome more than oncewalking through this show. The result is a warm and welcome sense of familiarity, ratherthan the feeling that one is looking at actors in a series of religious tableaux.

　　上面提到的圣母瑪利亞的圣壇畫(huà)緊隨其后。這幅畫(huà)是受托為西瑪家鄉(xiāng)的大教堂畫(huà)的，自1492年起一直保存在科內(nèi)利亞諾教堂。有人抱怨說(shuō)，脫離了背景進(jìn)行展示，教堂藝術(shù)就失去了它的感染力。然而，從上面圓頂千篇一律的葉飾到下面的天使音樂(lè)家，每個(gè)元素在巴黎都比在科內(nèi)利亞諾更容易領(lǐng)會(huì)欣賞。西瑪經(jīng)常畫(huà)相同的畫(huà)面形象。看過(guò)整個(gè)展覽的觀眾會(huì)不止一次地見(jiàn)到圣約翰、圣凱瑟琳和圣杰羅姆。結(jié)果觀眾感到的是溫暖愉悅的熟悉感，而不是那種在一系列宗教舞臺(tái)造型中看著演員的感覺(jué)。

　　The exhibition ends as it begins, with Venice. In a very large work, the winged lion of StMarksymbol of both the saint and the city he foundedfills most of the painting. The foursaints who flank him appear pint-sized in comparison. Whatever else the picture was meantto signify, it is plain that the aim was to show the overwhelming power of Venice. BubblyProsecco, a better-known product of Conegliano, is for sale in the museum shop. New and oldadmirers of Cima may well wish to raise a glass to this underappreciated master.

　　展覽以威尼斯開(kāi)始，也以威尼斯來(lái)結(jié)束。在一件非常大型的作品中，圣馬可的飛獅填滿了大部分畫(huà)面，這個(gè)飛獅既是圣馬可的標(biāo)識(shí)，也是他所守護(hù)的城市威尼斯的標(biāo)識(shí)。比較而言飛獅側(cè)面的四個(gè)圣徒看起來(lái)比標(biāo)準(zhǔn)的要小一些。不管這幅畫(huà)還意指別的什么，顯然其目的是為了顯示威尼斯的征服力。博物館的商店內(nèi)出售普羅賽克香檳酒，該酒科內(nèi)利亞諾較知名的產(chǎn)品。西瑪?shù)男吕铣绨菡咭苍S很希望為這個(gè)懷才不遇的大師舉杯。