Francesco Cima’s paintings embody a number of qualities and eccentricities, forming interrelations between what are on the surface discordant physical and temporal environments, and concentrating on minutiae and intricacies. As a result of persistent exploration of genre, Cima delves deeply into the depiction of landscapes. Humans are a rare sight in his practice; he concentrates on providing room for other entities, both from nature and his imagination. Cima’s brushstrokes are narrow and delicate, his landscapes vast and unknowable, inhabited by endless realities and forms. His application of oil paint is unrestricted by the confines of what we could imagine. The landscape and topography of Versilia in Tuscany is a frequent source of material for Cima, yet his paintings contain snapshots of far-off and unfamiliar lands. Cima considers his practice to owe much to Romanticism, and the soft light that illuminates his environments shares a kinship with the ethereal and otherworldly illumination of the Romantic painters. His work almost follows an ancestral line to the paintings of Caspar David Friedrich.