Francesco Del Cossa

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Cossa, Francesco Del


Born circa 1436 in Ferrara; died circa 1478 in Bologna. Early Renaissance Italian painter. Representative of the Ferrara school.

Cossa apparently studied under C. Tura. The development of his work was influenced by Andrea Mantegna and Piero della Francesca. In his works he combined clear plastic form with brilliant light saturated with many colors of the spectrum. Cossa took part in the decoration of the Palazzo Schifanoia in Ferrara (1469–70). His frescoes reflected a fresh, poetic apprehension of the world. He alternated depictions of life at the court of the dukes of Este with allegorical representations and scenes of village labor that symbolized the months of the year (March, April, May). Cossa’s easel paintings are marked by an expressiveness of contours and an enthusiasm toward the details of everyday life, ornamental motifs, and ancient architecture ( The Annunciation, Picture Gallery, Dresden; the altarpiece for the Griffoni Chapel in San Petronio in Bologna, c. 1473, the National Gallery in London and other museums).


Neppi, A. Francisco del Cossa. Milan, 1958.
Ruhmer, E. Francesco del Cossa. Munich, 1959.


References in periodicals archive ?
During the trip they saw a painting by Renaissance artist Francesco del Cossa.
Ali Smith's How to Be Both opens with an epigraph by the Renaissance painter Francesco del Cossa, the point-of-view character for half of the novel--and I can't translate it.
In the section titled "Camera" (which comes first or second, depending on the version you read), 16-year-old Georgia "George" Cook mourns the unexpected loss of her spirited, unconventional mother, whose passion for the art of 15th-century painter Francesco del Cossa unites them now as George begins to piece together her mother's shadowy past.
The book is split into two sections; one following the spirit of the Renaissance painter Francesco del Cossa as he explores the modern world, and the other focusing on troubled teenager George.
De ahi escenas como Stamen auri I, II, III, en las que aparecen dos cuerpos separados a la vez que unidos por un "hilo de luz", simbolo que enlaza con el elemento iconografico de la columna presente en obras como la de la Anunciacion de Francesco del Cossa (1470), en la que una columna situada en el eje visual liga a las dos figuras, la del angel y la de la Virgen, funcionando como centro de la composicion, ademas de como simbolo de identificacion con Cristo o la Virgen (Figura 1, Figura 2).
The canonical artists of the period were here, of course, but even less familiar figures, such as Francesco del Cossa, proved compelling.
The final four rooms, on the themes 'Francesco del Cossa tra Firenze, Bologna e Ferrara' and 'Verso e oltre Schifanoia', do little to redress this emphasis on Tura, despite the presence of a serene Madonna and Child with Angels (National Gallery of Art, Washington) and a Portrait of a Man (Museo Thyssen-Bornemisza, Madrid), both by Francesco del Cossa.
The other is the story of the 15th-century Italian painter Francesco del Cossa, a historical figure responsible for the remarkable frescos in the Palazzo Schifanoia in Ferrara, Italy--and about whom very little else is known.
Born in Ferrara in the mid-1450s, Roberti's first teacher was almost certainly Francesco del Cossa, who, along with Cosine Tura, was one of the founding fathers of Ferrarese Renaissance painting.
The scene of the Palio di San Giorgio described above forms an inset detail in the panel Francesco del Cossa painted for the month of April between 1467 and 1469 (fig.