{"Id":2761,"Name":"Piero di Cosimo","Biography":"\u003Cstrong\u003EPIERO DI COSIMO (1462-1521),\u003C/strong\u003E the name by which the Florentine painter Pietro di Lorenzo is generally known. He was born in Florence about 1462, and worked in the \u003Cem\u003Ebottega\u003C/em\u003E of \u003Ca href=\u0022http://www.artcyclopedia.com/artists/rosselli_cosimo.html\u0022 target=\u0022_blank\u0022 class=\u0022link\u0022\u003ECosimo Rosselli\u003C/a\u003E [1439-1507] (from whom he derived his popular name). Other influences that can be traced in his work are those of \u003Ca href=\u0022/asp/database/art.asp?aid=2693\u0022 target=\u0022_blank\u0022 class=\u0022link\u0022\u003EFilippino Lippi\u003C/a\u003E [c.1457-1504], \u003Ca href=\u0022http://www.artcyclopedia.com/artists/signorelli_luca.html\u0022 target=\u0022_blank\u0022 class=\u0022link\u0022\u003ELuca Signorelli\u003C/a\u003E [c.1441-1523], and \u003Ca href=\u0022/asp/database/art.asp?aid=186\u0022 target=\u0022_blank\u0022 class=\u0022link\u0022\u003ELeonardo da Vinci\u003C/a\u003E [1452-1519], and, as has been recently suggested by Professor R. Muther, that \u003Ca href=\u0022http://www.artcyclopedia.com/artists/goes_hugo_van_der.html\u0022 target=\u0022_blank\u0022 class=\u0022link\u0022\u003EHugo van der Goes\u003C/a\u003E [c.1440-1482], whose Portinari altar-piece (now at the Spedale of S. Maria Novella in Florence) helped to lead the whole of Florentine painting into new channels. From him, most probably, he acquired the love of landscape and the intimate knowledge of the growth of flowers and of animal life. The influence of Hugo van der Goes is especially apparent in the \u003Cu\u003EAdoration of the Shepherds\u003C/u\u003E, at the Berlin Museum. He had the gift of a fertile fantastic imagination, which, as a result of a journey to Rome in 1482 with his master, Rosselli, became directed towards the myths of classic antiquity. He proves himself a true child of the Renaissance in such pictures as the \u003Cu\u003EDeath of Procris\u003C/u\u003E, at the \u003Ca href=\u0022http://www.nationalgallery.org.uk/\u0022 target=\u0022_blank\u0022 class=\u0022link\u0022\u003ENational Gallery\u003C/a\u003E, the \u003Cu\u003EMars and Venus\u003C/u\u003E, at the Berlin Gallery, the \u003Cu\u003EPerseus and Andromeda\u003C/u\u003E series, at the \u003Ca href=\u0022http://www.uffizi.firenze.it/\u0022 target=\u0022_blank\u0022 class=\u0022link\u0022\u003EUffizi\u003C/a\u003E in Florence, and the \u003Cu\u003EHylas and the Nymphs\u003C/u\u003E belonging to Mr Benson. If, as we are told by \u003Ca href=\u0022/asp/database/art.asp?aid=2648\u0022 target=\u0022_blank\u0022 class=\u0022link\u0022\u003EVasari\u003C/a\u003E [1511-1574], he spent the last yeats of his life in gloomy retirement, the change was probably due to \u003Ca href=\u0022http://www.newadvent.org/cathen/13490a.htm\u0022 target=\u0022_blank\u0022 class=\u0022link\u0022\u003E[Girolamo] Savonarola\u003C/a\u003E [1452-1498], under whose influence he turned his attention once more to religious art. \u003Cu\u003EThe Immaculate Conception\u003C/u\u003E, at the Uffizi, and the \u003Cu\u003EHoly Family\u003C/u\u003E, at Dresden, best illustrate the religious fervour to which he was stimulated by the stern preacher.\u003Cbr\u003E\u003Cbr\u003EWith the exception of the landscape background in Rosselli\u0027s fresco of the \u003Cu\u003ESermon on the Mount\u003C/u\u003E, in the Sistine Chapel, we have no record of any fresco work from his brush. On the other hand, he enjoyed a great reputation as a portrait painter, though the only known examples that can be definitely ascribed to him are the portrait of a warrior, at the National Gallery, (No. 895), the so-called Bella Simonetta, at Chantilly, the portraits of Giuliano di San Gallo and his father, at the Hague, and a head of a youth, at Duiwich. Vasari relates that Piero excelled in designing pageants and triumphal processions for the pleasure-loving youths of Florence, and gives a vivid description of one such procession at the end of the carnival of 1507, which illustrated the triumph of death. Piero di Cosimo exercised considerable influence upon his fellow pupils \u003Ca href=\u0022http://www.artcyclopedia.com/artists/albertinelli_mariotto.html\u0022 target=\u0022_blank\u0022 class=\u0022link\u0022\u003EAlbertinelli\u003C/a\u003E [1474-1515] and \u003Ca href=\u0022/asp/database/art.asp?aid=2757\u0022 target=\u0022_blank\u0022 class=\u0022link\u0022\u003EBartolommeo della Porta\u003C/a\u003E [1472-1517] and was the master of \u003Ca href=\u0022/asp/database/art.asp?aid=237\u0022 target=\u0022_blank\u0022 class=\u0022link\u0022\u003EAndrea del Sarto\u003C/a\u003E [1486-1530]. Examples of his work are also to be found at the \u003Ca href=\u0022http://www.louvre.fr/louvrea.htm\u0022 target=\u0022_blank\u0022 class=\u0022link\u0022\u003ELouvre\u003C/a\u003E in Paris, the Harrach and Liechtenstein collections in Vienna, the Borghese Gallery in Rome, the Spedale degli Innocenti in Florence, and in the collections of Mr John Burke and Colonel Cornwallis West in London. A \u003Cu\u003EMagdalen\u003C/u\u003E from his brush was added to the National Gallery of Rome in 1907.\u003Cbr\u003E\u003Cbr\u003ESee \u003Cu\u003EPiero di Cosimo\u003C/u\u003E, by F. Knapp (Halle, 1899); \u003Cu\u003EPiero di Cosimo\u003C/u\u003E, by H. Haberfeld (Breslau, 1901).\u003Cbr\u003E\u003Cbr\u003E\u003Cstrong\u003E\u003Cu\u003ESource:\u003C/u\u003E\u003C/strong\u003E Entry on the artist in the \u003Ca href=\u0022http://97.1911encyclopedia.org/P/PI/PIERO_DI_COSIMO.htm\u0022 target=\u0022_blank\u0022\u003E1911 Edition Encyclopedia\u003C/a\u003E.\u003Cp\u003E","Awards":null,"HasAlbums":false,"HasPortraits":false,"HasRelationships":true,"HasArticles":false,"HasDepictedPlaces":false,"HasLetters":false,"HasLibraryItems":false,"HasProducts":false,"HasSignatures":false,"HasVideos":false,"HasMapLocations":true,"TotalArtworks":25}