Venus, Mars, and Cupid - Piero di Cosimo
Archival giclée
Ready to hang
Secure checkout
Made to order
Description
A Renaissance mythological scene by Piero di Cosimo, depicting Venus and Mars in a peaceful meadow, rendered with fine detail and symbolic narrative.
Piero di Cosimo, a Florentine painter known for his eccentric approach to classical subjects, produced this work during the early sixteenth century. The painting depicts the Roman deities Venus and Mars resting in a meadow, accompanied by Cupid and several smaller putti. The composition is horizontal, typical of a spalliera, a panel intended for domestic furniture such as a headboard or a chest back. Venus is positioned on the left, reclining with a rabbit, while Mars sleeps on the right, his armour discarded nearby. This juxtaposition of the god of war in a state of repose, alongside the goddess of love, serves as a traditional allegory for the triumph of love over conflict. The background features a detailed, expansive view of a river valley, which demonstrates the artist's interest in naturalistic observation. The presence of the putti, who play with the discarded weapons of Mars, adds a narrative layer to the scene, suggesting a lighthearted interpretation of the myth. Technically, the work displays the smooth transitions and precise detail characteristic of the period. The figures are rendered with a soft, sculptural quality, while the surrounding flora and the distant landscape are painted with careful attention to light and atmosphere. The inclusion of specific animals, such as the white dove and the rabbit, introduces symbolic elements that were common in Renaissance iconography. This piece remains a clear example of the artist's ability to blend classical mythology with a personal, somewhat whimsical aesthetic, moving away from the rigid formality often found in contemporary religious commissions. The painting is currently housed in the Gemäldegalerie in Berlin, where it is studied for its unique contribution to the development of secular narrative art in Florence.
Return policy
Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. EU customers have a 14-day cooling-off right. See our refunds page for full details.
Shipping
We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Venus, Mars, and Cupid - Piero di Cosimo
Our Features
Designed for Lasting Impact
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Choose poster, framed print, canvas or framed canvas
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Why Choose Us ?
100% Satisfaction Guarantee
Fast Shipping
Museum-Quality Materials
Artist Biography
Piero di Cosimo
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.
You May Also Like

