Francesco Del Cossa

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

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.


The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
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.
It was inspired by Francesco del Cossa's fresco at the Palazzo Schifanoia in Ferrara, Italy.
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.
'Cosme Tura e Francesco del Cossa: l'arte a Ferrara nell'eta di Borso d'Este' is the most recent of a sequence of exhibitions devoted to the patronage of the Houses of Este, Savoy and Borromeo that have been arranged by Mauro Natale.
Francesco del Cossa's fresco in the Palazzo Schifanoia has the spectators, Ferrara's married and marriageable women, looking down on the violators of Christian feminine mores, their height symbolizing the superiority of chastity over unbound female sexuality.
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.
Despite their cruelties, under Estense patronage, Ferraro became one of the wealthiest cities in Italy and illustrious local artists (Francesco del Cossa, Ercole de'Roberti, Cosme Tura) established the Ferrara School of painting.
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.