Piero di Cosimo: The Poetry of Painting in Renaissance Florence
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(30 Jan 2015) A new
(30 Jan 2015) A new exhibition of renaissance artist Piero di Cosimo's is being unveiled at the National Gallery of Art in Washington.
The artist is the master of producing stories in paint, and gives a flavour of everyday life in Renaissance Italy.
When you enter the world of the artist Piero di Cosimo, you enter the world of Renaissance Italy with its religion, myths, allegories and pagan symbolism.
The fifteenth century Italian painter has been neglected for several hundred years, until now.
A new show at the National Gallery of Art in Washington showcases Piero's work with 44 paintings that span the four decades of his career, as well as his varied subject matter.
Dennis Geronimus is Associate Professor of Art History at New York University.
"He comes across as a artist who doesn't just speak one visual language, but many. And, on the one hand, he's full of the unexpected, the fantastic, the improbable. On the other hand he also speaks a very human language, one that one could describe best as a visual vernacular. So, even the most solemn of compositions are filled with little particles of the lived, of the everyday," he says.
Piero was very popular in his own time and painted for many of the richest families in Florence.
He painted altar pieces on large wooden panels for side chapels installed in some of the most prestigious churches in Florence.
His religious themed works are in high demand, along with his allegories and mythological paintings.
He was simply overlooked for many centuries, overshadowed by his contemporaries like Leonardo da Vinci and Sandro Botticelli.
Geronimus says he had a great eye for detail.
"He has a gift for making the ordinary seem extraordinary. And, he, at the same time, invests the extraordinary in the case of both the pious and the pagan with little hints of everyday life to make them all the more immediate and to draw in, both then and now."
Piero wasn't so much an innovator of technique, as he was a master of techniques for producing stories in paint.
This painting, titled "The Visitation of Saint Nicholas and St. Anthony Abbot is one gem in the exhibition.
An altarpiece from the 15th century of the pregnant Virgin Mary meeting with Saint Elizabeth, who will soon become the mother of John the Baptist.
The painting has just undergone a major restoration in the conservation lab.
Gretchen Hirschauer is Associate Curator of Italian and Spanish paintings at the National Gallery.
"Even though its one central scene, the visitation, Piero invites you into the panel, he leads the eye of the worshipper, of the spectator, throughout the picture. So, you see many more scenes than just the primary" she explains.
There's a nativity scene on the left behind Mary's shoulder.
Above that, just barely visible, the Magi are working their way down a hillside.
On the right hand of the panel, the murder of the innocents on orders from King Herod.
Hirschauer also highlights Piero's emphasis on details.
"The two saints on either side, St. Nicholas and St. Anthony Abbot and their attributes. For example, St. Anthony Abbot, just beyond him is a wild pig, and he holds, there's a crutch, and he's wearing spectacles. And, little did we know that there were spectacles."
There are pairs of spectacles from the 15th century on display in the archaeological museum in Florence.
Another genre that Piero approached was the 15th century interpretation of Greek and Latin classics of mythology.
Often commissioned by patrons as panels in the sides of a trunk, or to decorate dining rooms, the mythological paintings allowed Piero's imagination to run wild.
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The artist is the master of producing stories in paint, and gives a flavour of everyday life in Renaissance Italy.
When you enter the world of the artist Piero di Cosimo, you enter the world of Renaissance Italy with its religion, myths, allegories and pagan symbolism.
The fifteenth century Italian painter has been neglected for several hundred years, until now.
A new show at the National Gallery of Art in Washington showcases Piero's work with 44 paintings that span the four decades of his career, as well as his varied subject matter.
Dennis Geronimus is Associate Professor of Art History at New York University.
"He comes across as a artist who doesn't just speak one visual language, but many. And, on the one hand, he's full of the unexpected, the fantastic, the improbable. On the other hand he also speaks a very human language, one that one could describe best as a visual vernacular. So, even the most solemn of compositions are filled with little particles of the lived, of the everyday," he says.
Piero was very popular in his own time and painted for many of the richest families in Florence.
He painted altar pieces on large wooden panels for side chapels installed in some of the most prestigious churches in Florence.
His religious themed works are in high demand, along with his allegories and mythological paintings.
He was simply overlooked for many centuries, overshadowed by his contemporaries like Leonardo da Vinci and Sandro Botticelli.
Geronimus says he had a great eye for detail.
"He has a gift for making the ordinary seem extraordinary. And, he, at the same time, invests the extraordinary in the case of both the pious and the pagan with little hints of everyday life to make them all the more immediate and to draw in, both then and now."
Piero wasn't so much an innovator of technique, as he was a master of techniques for producing stories in paint.
This painting, titled "The Visitation of Saint Nicholas and St. Anthony Abbot is one gem in the exhibition.
An altarpiece from the 15th century of the pregnant Virgin Mary meeting with Saint Elizabeth, who will soon become the mother of John the Baptist.
The painting has just undergone a major restoration in the conservation lab.
Gretchen Hirschauer is Associate Curator of Italian and Spanish paintings at the National Gallery.
"Even though its one central scene, the visitation, Piero invites you into the panel, he leads the eye of the worshipper, of the spectator, throughout the picture. So, you see many more scenes than just the primary" she explains.
There's a nativity scene on the left behind Mary's shoulder.
Above that, just barely visible, the Magi are working their way down a hillside.
On the right hand of the panel, the murder of the innocents on orders from King Herod.
Hirschauer also highlights Piero's emphasis on details.
"The two saints on either side, St. Nicholas and St. Anthony Abbot and their attributes. For example, St. Anthony Abbot, just beyond him is a wild pig, and he holds, there's a crutch, and he's wearing spectacles. And, little did we know that there were spectacles."
There are pairs of spectacles from the 15th century on display in the archaeological museum in Florence.
Another genre that Piero approached was the 15th century interpretation of Greek and Latin classics of mythology.
Often commissioned by patrons as panels in the sides of a trunk, or to decorate dining rooms, the mythological paintings allowed Piero's imagination to run wild.
Find out more about AP Archive: http://www.aparchive.com/HowWeWork
Twitter: Twitter: AP_Archive
Facebook: Facebook: APArchives
Instagram: Instagram: APNews
You can license this story through AP Archive: http://www.aparchive.com/metadata/you...
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