Sammlung
Piero Di Cosimo
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Porträts von Giuliano und Francesco Giamberti da Sangallo – Piero di Cosimo
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Porträt der Simonetta Vespucci - Piero di Cosimo
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Madonna mit Kind, Heiligen und Engeln - Piero di Cosimo
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Porträt einer Dame - Piero di Cosimo
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Der Mythos des Prometheus - Piero di Cosimo
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Maria Magdalena - Piero di Cosimo
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Die Entdeckung des Honigs durch Bacchus – Piero di Cosimo
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Der junge Heilige Johannes der Täufer - Piero di Cosimo
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Porträt eines jungen Mannes - Piero di Cosimo
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Venus, Mars und Amor - Piero di Cosimo
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Madonna mit Kind, dem Johannesknaben und Engeln - Piero di Cosimo
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Porträt der Simonetta Vespucci als Kleopatra – Piero di Cosimo
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Kreuzigung Christi - Piero di Cosimo
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Allegorie - Piero di Cosimo
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Mystische Vermählung der Heiligen Katharina von Alexandria - Piero di Cosimo
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Giuliano da Sangallo - Piero di Cosimo
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Der Evangelist Johannes - Piero di Cosimo
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Die Missgeschicke des Silen - Piero di Cosimo
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Die Unbefleckte Empfängnis mit Heiligen – Piero di Cosimo
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Perseus befreit Andromeda - Piero di Cosimo
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Lesende Magdalena - Piero di Cosimo
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Giuliano und Francesco Giamberti da Sangallo - Piero di Cosimo
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Artist Biography
Piero Di Cosimo
Piero di Cosimo was terrified of thunderstorms, could not bear the sound of coughing, crying babies, chanting friars or church bells, and reportedly lived on a diet of hard-boiled eggs, which he cooked fifty at a time while boiling glue for his paintings. Giorgio Vasari, who compiled these details, described him as living "more like a beast than a man". He let his garden run wild on principle, preferring to see plants and animals free of cultivation.
He was born in Florence around 1462, took the name di Cosimo from his master Cosimo Rosselli, and by 1480 was working as an unpaid apprentice in Rosselli's workshop. He operated outside the official artistic circles of Florentine Renaissance painting, borrowing freely from Leonardo, Signorelli and Netherlandish artists without belonging to any school.
His mythological paintings, many based on Vitruvius's account of human evolution, are filled with hybrid creatures, fantastic landscapes and strange revels. He also painted portraits, including the posthumous bust of Simonetta Vespucci (c. 1480), and excelled at designing pageants and triumphal processions for Florentine festivals. He could discern equestrian battles and urban scenes in the stains on a wall, a habit Leonardo also described. He died in Florence in 1521.
He was born in Florence around 1462, took the name di Cosimo from his master Cosimo Rosselli, and by 1480 was working as an unpaid apprentice in Rosselli's workshop. He operated outside the official artistic circles of Florentine Renaissance painting, borrowing freely from Leonardo, Signorelli and Netherlandish artists without belonging to any school.
His mythological paintings, many based on Vitruvius's account of human evolution, are filled with hybrid creatures, fantastic landscapes and strange revels. He also painted portraits, including the posthumous bust of Simonetta Vespucci (c. 1480), and excelled at designing pageants and triumphal processions for Florentine festivals. He could discern equestrian battles and urban scenes in the stains on a wall, a habit Leonardo also described. He died in Florence in 1521.
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