Piero di Cosimo


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Piero di Cosimo

(pyĕ`rō dē kô`zēmō), 1462–1521, Florentine painter, whose name was Piero di Lorenzo. He adopted the name of his master, Cosimo RosselliRosselli, Cosimo
, 1439–1507, Florentine painter. He was one of the artists summoned to Rome by Sixtus IV to assist in decorating the Sistine Chapel. He painted The Last Supper and other subjects for it.
..... Click the link for more information. , whom he accompanied to Rome in 1482 and assisted in the decorating of the Sistine Chapel. His religious works have charm, but more important are his animated mythological scenes. Commissioned by the Florentine Francesco Pugliese, he painted many works depicting life in a primitive, mythological state. Among these pictures are the Hunting Scene and the Return from the Hunt (both: Metropolitan Mus.); Discovery of Honey (Worcester Mus.); Discovery of Wine (Fogg Mus., Cambridge); and Vulcan and Aeolus (National Art Gall. of Canada, Ottawa). Other well-known works by Piero are the Death of Procris (National Gall., London) and Simonetta Vespucci (Chantilly). The influence of Leonardo da VinciLeonardo da Vinci
, 1452–1519, Italian painter, sculptor, architect, musician, engineer, and scientist, b. near Vinci, a hill village in Tuscany. The versatility and creative power of Leonardo mark him as a supreme example of Renaissance genius.
..... Click the link for more information.  is evident in some of his work, including the Portrait of a Woman with a Rabbit (Yale Univ.). Piero was also well known as a designer of popular theatricals and processions.

Bibliography

See biography by R. L. Douglas (1946); S. J. Freedberg, Painting of the High Renaissance (1961).

Piero di Cosimo

 

(real name Piero di Lorenzo). Born 1462 in Florence; died there 1521. Italian painter of the Florentine school.

Piero di Cosimo was influenced by Filippo Lippi, Leonardo da Vinci, and Hugo van der Goes. His works combine a sensitivity for the poetic beauty of the world with fantastic images and refined stylization that reflected the tastes of the court (Perseus and Andromeda, Uffizi Gallery, Florence). The artist’s faithful rendering of landscape and the mannered quality of his figures also characterize his portraits (Portrait of Simonetta Vespucci, Condé Museum, Chantilly).

REFERENCE

Bacci, M. Piero di Cosimo. Milan [1966].

Piero di Cosimo

1462--1521, Italian painter, noted for his mythological works
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Yet another book on Raphael or another book on Botticelli is nice, but perhaps not as needed as a really careful look at Piero di Cosimo.
The beauty and eccentricity of Piero: neglected Renaissance artist gets exhibit
It is with Piero di Cosimo il Vecchio, and his son, Lorenzo the Magnificent, that the use of diamond ring devices, both as personal and family symbols, is a visually documented occurrence.
The clues in the jewels: a case for companion portraits of Francesco I and Lucrezia de' Medici
More than half of the surviving work of Piero di Cosimo (1462-1522) is preserved in North American collections, most of it acquired between the 1890s and the 1930s.
Human nature: Stephen Campbell examines the unsettling qualities of Piero di Cosimo's paintings
While the museum's collection includes exceptional Italian Renaissance masterworks by artists such as Andrea Del Sarto and Piero di Cosimo, it has traditionally been stronger in northern European works.
'Venus' is here; Painting by Renaissance master donated to museum
Anne Barriault's contribution on the life of Piero di Cosimo is appropriately placed within the section on Vasari and poetry, for she suggests that the biography, "a song of loss" (192), is constructed according to the conventions of the pastoral elegy, a common poetic form in the sixteenth century.
Reading Vasari
But when his son Piero di Cosimo (1416-69) attempted to claim patronage rights to the main altar of the Cathedral in 1447, he was politely rebuffed.
Medici funerary monuments in the Duomo of Florence during the fourteenth century: a prologue to "the early Medici"
Ganz documents how the perceived slights of Agnolo Acciaiuoli and Dietisalvi Neroni by Cosimo de' Medici contributed to the willingness of these two ottimati to take advantage of Piero di Cosimo de' Medici's relative weakness by attempting to reinstitute a purer, pre-Medicean form of republican government.
Society and Individual in Renaissance Florence
Significantly, in a manuscript of around 1765 by one of the resident monks, Filippo Tozzi of the Order of Servites, we read: 'Near this lunette is the holy water stoup, worked in white marble by Giacomo di Marco of Fiesole at the expense of Piero di Cosimo de' Medici, whose arms are to be seen on its foot.
Crying in the wilderness: a bronze 'St John the Baptist' from the circle of Piero the Gouty De'Medici: in the 1450s Lorenzo the Magnificent's father commissioned a bronze statuette of St John the Baptist for a holy-water stoup in SS Annunziata, Florence. Charles Avery presents new evidence that this lost work has survived unidentified in the Bargello
For good measure Jeanneret throws in a bit of Leonardo, Michelangelo, Piero di Cosimo, and the pan-European Erasmus, but it seems that they are there only to provide a continental flavor.
Michael Jeanneret. Perpetual Motion: Transforming Shapes in the Renaissance from da Vinci to Montaigne
Ede's contributions, beginning (rather surprisingly for those who think of him solely as a modernist) with a piece on Piero di Cosimo, and Tancred Borenius on Vermeer's newly discovered Girl in a red hat, then still with Knoedler, but shortly to be purchased by Andrew Mellon.
Eighty years on
It is in the latter dimension that the poem enters the visual culture of the late Quattroce nto: from the 1480s, it served as a source of inventions for mythological paintings by Borticelli and Piero di Cosimo.
Giorgione's Tempest, studiolo culture, and the Renaissance Lucretius *
19) The dancers were more varied in age than seems to have been the case in the Mercato Nuovo: Lucrezia Tornabuoni, wife of Piero di Cosimo de' Medici, one of her daughters, probably the elder, Bianca, then aged not quite fourteen, the latter's aunt, Ginevra di Niccolo Alessandri, wife of Giovanni di Cosimo, Laudomia di Jacopo Acciaiuoli, wife of Pierfrancesco di Lorenzo de' Medici, and "a young woman of the Strozzi family who, if she is not the most beautiful in the city, is at least surpassed by very few" (una giovane di Strozi, quale se non la piu bella di questa cita, almancho e avanzata da puoche, Buser, 348).
Performing for strangers: Women, dance, and music in Quattrocento Florence (*)

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