Collection
Piero Di Cosimo
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Portraits of Giuliano and Francesco Giamberti da Sangallo - Piero di CosimoPrint · Framed
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Portrait of Simonetta Vespucci - Piero di CosimoPrint · Framed · Canvas
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Madonna and Child with Saints and Angels - Piero di CosimoPrint · Framed · Canvas
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Portrait of a Woman - Piero di CosimoPrint
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The Myth of Prometheus - Piero di CosimoPrint
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Maria Magdalena - Piero di CosimoPrint
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The Discovery of Honey by Bacchus - Piero di CosimoPrint
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The Young Saint John the Baptist - Piero di CosimoPrint
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Portrait of a Young Man - Piero di CosimoPrint
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Venus, Mars, and Cupid - Piero di CosimoPrint
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Madonna and Child with the Infant Saint John the Baptist and Angels - Piero di CosimoPrint
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Portrait of Simonetta Vespucci as Cleopatra - Piero di CosimoPrint
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Crucifixion of Christ - Piero di CosimoPrint
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Allegory - Piero di CosimoPrint
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Mystical Marriage of St. Catherine of Alexandria - Piero di CosimoPrint
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Giuliano da Sangallo - Piero di CosimoPrint
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St. John the Evangelist - Piero di CosimoPrint
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The Misfortunes of Silenus - Piero di CosimoPrint
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The Immaculate Conception with Saints - Piero di CosimoPrint
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Perseus Rescuing Andromeda - Piero di CosimoPrint
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Magdalena Reading - Piero di CosimoPrint
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Giuliano and Francesco Giamberti da Sangallo - Piero di CosimoPrint
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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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