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Born in 1462, an auspicious time for hopeful young painters in Renaissance Florence, Piero di Cosimo left the city's artistic landscape forever changed upon his death in 1522. The singular vision of this highly esteemed painter is beautifully presented in this important publication, which accompanies the first-ever retrospective of di Cosimo's astonishing career. A contemporary of luminaries such as Botticelli, Leonardo and Michelangelo, Piero di Cosimo was regarded in his day as a creative spirit of uncommon imagination. As a poet his fantastic inventions rivalled the verses of the shining lights of ancient Greece and Rome, whose myths and allegories he set out to transform in a strange language all his own. As a masterful painter of both sacred and profane subjects he could flit between complex, crowded compositions and scenes of intimate, tranquil lyricism. This groundbreaking publication demonstrates di Cosimo's range through in-depth discussions of individual works that help to substantiate specific interpretations and cases of authorship while also addressing the broader social and religious functions of image-making in the period. This unique publication makes a significant contribution to our understanding of a true Italian master, arguably Renaissance art's most spellbinding storyteller.
- Sales Rank: #1194882 in Books
- Published on: 2015-01-28
- Original language: English
- Dimensions: 11.75" h x 9.75" w x 1.25" l, 3.65 pounds
- Binding: Hardcover
- 240 pages
Review
'This catalogue of an important exhibition held at the National Gallery of Art in Washington presents a cross section of the artist's entire career, giving equal weight to religious and secular production. ... Essays on selected topics supplement the full catalogue entries, all of it enriched with large color plates and revealing, detailed close-ups. ... Summing Up: Highly recommended. Upper-division undergraduates and above.' Choice 'This book, written on the occasion of a landmark exhibition, brings alive the work of one of the great non-conformists of the Renaissance. Piero di Cosimo's curiosity about nature was surpassed only by the multi-faceted genius of Leonardo da Vinci, who was ten years Piero's senior and had a profound influence on his art. His wonderment of the ordinary in life and his sensitivity to the foibles of humanity as well as of animals enabled him to re-imagine the great religious and mythologic themes patrons demanded. Anyone who pages through this beautifully produced book will come away with a new vision of Renaissance painting.' Keith Christiansen, Metropolitan Museum of Art ' ... Piero di Cosimo: The Poetry of Painting in Renaissance Florence is a book that stands as an equal to the magnificent show it accompanies, and is also to be welcomed as a major contribution to scholarship, belonging on the shelf of every scholar of 15th century Florentine art.' Karen Hope Goodchild, Wofford College 'A beautifully illustrated introduction to the life and work of a master of Rennaissance Florence' The Tablet, May 2015
About the Author
Dennis Geronimus is Associate Professor of Renaissance Art History at New York University and guest curator of the exhibition. Virginia Brilliant is Curator of European art at the John and Mable Ringling Museum of Art, Sarasota. David Franklin is Director of the Cleveland Museum of Art. Gretchen Hirschauer is Associate Curator of Italian paintings at the National Gallery of Art, Washington DC and co-curator of the exhibition. Alison Luchs is Curator of early European sculpture at the National Gallery of Art, Washington DC. Serena Padovani is Director Emerita of the Galleria Palatina in Florence. Elizabeth Walmsley is a conservator of paintings at the National Gallery of Art, Washington DC.
Most helpful customer reviews
20 of 20 people found the following review helpful.
Documenting an Important Exhibit
By Edward A. Mainzer
Given the costs involved, the fragility of the works of the art, and geopolitics, major international loan exhibitions of Renaissance art are rare events, so for anyone interested in 16th century Florence the Piero di Cosimo paintings at the National Gallery of Art in Washington, DC (which will travel in a different form to the Uffizi Gallery in Florence) are not to be missed (unfortunately, no works on paper are included in the DC version). The NGA itself owns several works by Piero, who although not counted among the first rank of his peers, is as one of this volume's essays discusses particularly well represented in U.S. collections. He is often associated with his panels based on mythology, although he did devotional works and portraits as well, and the NGA's Associate Curator of Italian and Spanish Paintings, Gretchen A. Hirschauer, and her co-author, NYU Associate Professor Dennis Geronimus--whose Piero studies date back 20 years to the beginnings of his dissertation, are both well versed in their subject. The eight essays comprising 90-odd pages that preface the catalog entries by Hirschauer, Geroimus and colleagues from both sides of the Atlantic are brief, but properly documented, and the text for the volume is generally nicely set and printed, although unfortunately with a too narrow gutter margin on left facing pages which makes reading difficult. There are full page illustrations for each featured work, although they frequently leave one wishing for enlargements, particularly of the altarpieces whose details are not readily visible. While the exhibit itself as installed in Washington is well worth a trip, as Hirschauer suggested in remarks on the opening day, this catalog will not be the last word on Piero. The book features source notes, a selected bibliography and an index which includes names and titles.
2 of 2 people found the following review helpful.
Renaissance painter of fantasy and individuality
By Stephen Midgley
This very handsome volume, subtitled 'The Poetry of Painting in Renaissance Florence', is the catalogue to accompany the first-ever major exhibition of the art of Piero di Cosimo. The reputation of this Florentine painter (1462-1522) has been somewhat overshadowed through the centuries by the fame of Botticelli, Leonardo, Piero della Francesca and the other great artists of the renaissance. But, as this book and the exhibition illustrate, the artist - in addition to his obvious representational skills - was a painter of fantasy, invention and exceptional individuality. For this was a painter not only of religious scenes, but of mystery and mythology too.
Among a number of startling aspects of his art are his brilliance in depicting his human subjects as individuals, both in dedicated portraits and in those populating larger scenes with multiple figures. Some of the figures in 'Madonna and Child Enthroned' (catalogue 3), 'Visitation' (cat. 6) and 'Madonna and Child' (cat. 8) are remarkably characterised, and the two characters in the pair of portraits of Giuliano da Sangallo and Francesco Giamberti (cat. 4A and 4b) are stunning in their colour, modelling and individuality.
Especially fascinating is the artist's depiction of, and evident empathy with, the animal world. Numerous animals are included in his scenes – dogs, birds, lions, oxen, donkeys, snakes, bears, a giraffe, as well as mythical creatures such as satyr, centaur and dragon. Even the dragon, a beast which has generally had a bad press over the years, is depicted with some charm in the wonderful 'Liberation of Andromeda' scene (cat. 33). As usual, the monstrous sea dragon is destined to come off worst in the story, but nevertheless Piero chooses to depict the fearsome creature with a touch of well-deserved sympathy. It's little wonder that the central detail from this startling painting is used for the book's cover, as well as in the publicity posters for the exhibition.
This is all part of the artist's overall appreciation of landscape and the natural as well as the human world, and it shows us a fascinating side of this very original artist. These aspects are well described in Gretchen Hirschauer's excellent introduction, and are covered in greater detail in the chapters from other writers which cover, for example, portraiture, landscape, painting technique and the treatment of mythology. We are told how, in Vasari's 'Lives', Piero is described as eccentric, wayward, uncouth and solitary, a man of bizarre behaviour and a lover of the natural world. The thirty-six paintings in the Piero exhibition are all beautifully reproduced here on high-quality matt or satin-finish paper, with many details shown in lavish double-page spreads and most of his other works also mentioned and depicted. The exhibition ran at the National Gallery of Art in Washington, DC, from February to April 2015, and moves to Florence's Uffizi from June to September 2015.
6 of 7 people found the following review helpful.
Piero di Cosimo in Washington
By Kenneth Hughes
In 1490, an agent of the Duke of Milan reported that the most prominent painters currently working in Florence were Sandro Botticelli, Domenico Ghirlandaio, Filippino Lippi, and Pietro Perugino. Why he did not include Piero di Cosimo is an intriguing question, because by this time Piero's reputation as an outstanding artist was secure: he was easily the most sought-after designer of the popular floats and costumes essential to the city's annual Carnival festivities, and he was highly esteemed by the Strozzi, Vespucci, Pugliese and other leading families for whom he was a favorite painter of "spalliere," the shoulder-high panels with which they liked to decorate their palazzi--thus ensuring his constant success and reputation. Perhaps the Duke's agent simply considered him, at twenty-eight, too young to be included in senior circles; perhaps he dismissed Piero's non-religious art as insufficiently serious; or perhaps there was just something in his "fiorentinità" that put the Milanese off. Giorgio Vasari's posthumous portrait of Piero as a mildly misanthropic madman is probably largely biographical fiction, but according to other accounts, the artist was indeed sufficiently eccentric and oddball to merit Bernard Berenson's description of him as a "fascinating but wayward genius" (165). In any case, the agent's neglect of Piero, justified or not, was at least prescient: it has taken us 525 years since his report to mount a major monographic exhibition of the artist's work. That exhibition is at the National Gallery of Art in Washington, D.C., from February until May 2015 and then, in a slightly different form including drawings and other paintings, at the Galeria degli Uffizi in Florence from June until September. The volume under review here is its catalogue, and although it is rather more expensive than most exhibition catalogues, I do not hesitate to recommend it to aficionados of Renaissance Florentine painting, because, in addition to being superbly illustrated and a beautifully designed and produced book, it adds perspectives and points of view that go beyond the currently available monographic studies of Sharon Fermor and Dennis Geronimus (see the various reviews on this website). This reflects the exhibition itself, which is quite comprehensive, drawing on over forty lenders internationally and presenting forty-four paintings from all of Piero's genres and periods, nine of which underwent restoration specifically for this show (this is actually most of his extant paintings, which number fewer than sixty, some of which of course are too fragile to travel).
The eight scholarly essays which precede the catalogue, all of them by well-known academic and curatorial specialists, begin with a general overview of Piero's life and work by Gretchen Hirschauer, a curator of Italian and Spanish paintings at the National Gallery and co-curator and co-editor, with Prof. Geronimus, chair of the art history department at New York University, of the exhibition and volume. The topics considered are Piero's position among his Florentine colleagues, his portraiture, the devotional works, his redaction and pictorialization of Lucretius's theories about early humankind (from "De rerum natura"), his attention to natural/unnatural wonders, particularities of his painting techniques, and his American reception and collections. These essays are clearly annotated and well illustrated with about sixty companion pictures, mostly half-page to quarter-page in size, and for the most part they are well written and informative. There is an unexpected and surprising "leitmotif" in these discussions: almost all the writers refer in one way or another to the huge influence of the arrival in Florence in May 1483 of the "Portinari Triptych," i.e., Hugo van der Goes's monumental altarpiece "Adoration of the Shepherds," which was installed on the high altar of the church at the hospital of Santa Maria Nuova and apparently had an immediate and profound affect on Florentine painting, impelling local artists to refine their oil techniques and to adopt northern emphases on clarity of light, saturated color, and naturalistically rendered beautiful landscapes. So much is made of the impact this painting had on local practices and specifically on several paintings of Piero that a separate and more detailed essay on the topic would have been welcome. Moreover, despite the excitement caused in the very early years of the new century by the "Mona Lisa" and the "David," the abortion of Leonardo's and Michelangelo's attempts at their battle-scene decorations for the Palazzo della Signoria, coupled with the death of Filippino Lippi in 1504, must have increased Piero's importance to up-and-coming young artists like Sarto, Pontormo and Rosso, and an extended discussion of his influence on this younger generation of Florentine figures would likewise have been very interesting and informative.
The catalogue itself presents all the exhibition paintings full-page and in excellent color and definition. Each entry has a two- or three-page signed and annotated commentary by one of the contributing scholars and is also illuminated by a number of comparison illustrations that have been excellently chosen and in several cases serve more than one exhibit discussion. As is not uncommon in catalogues of this sort, the focussed commentary on the individual exhibits is often more perceptive and informative than the general essays; here is where Piero's artistic eccentricities really come into focus, both of technique and of theme, and where his almost obsessive attention to detail can be analyzed. Examination of those details is greatly facilitated by the inclusion of seven single-page and nine double-page blow-ups generously interspersed throughout the volume, not only as sectional frontispieces. Apparatus consists of a detailed map of Florence indicating points of significance to Piero's work, a good selected bibliography and an index of names and titles. In reference to the comment by the previous reviewer, I must say that my copy had no problem with the gutter margins; it is altogether a beautifully produced volume and a very strong recommendation for both text and illustration.
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