Piero di Cosimo


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Piero di Co·si·mo

 (dē kō′zē-mō) 1462-1521.
Florentine painter. His works include Vulcan and Aeolus (c. 1486).
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.

Piero di Cosimo

(Italian ˈpjɛːro di ˈkɔːzimo)
n
(Biography) 1462–1521, Italian painter, noted for his mythological works
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The 13 essays are from a September 2015 conference in Florence that coincided with an exhibit there of paintings by Piero di Cosimo (1462-1521).
This examination of representations of violence in 15th-century Florence considers how Piero di Cosimo, Antonio del Pollaiuolo, and the young Michelangelo were often inspired by the art of antiquity as well as contemporary cruelties.
In the rediscovery of El Greco about a century ago, Townsend sees a parallel to the painter's Italian predecessor Piero di Cosimo (1462-1521).
The loan of the Small Cowper Madonna stemmed from a request by the National Gallery of Art for one of WAM's treasures, "The Discovery of Honey by Bacchus'' by Italian Renaissance painter Piero di Cosimo, around whom the National Gallery was planning an exhibition.
Nearly all of them refer to works of art from the past, ranging from Botticelli and Piero di Cosimo to Mondrian, Balthus, Florine Stettheimer, and--perhaps most unlikely in this strategically inconsistent list--Lucian Freud.
As might be expected, several essays focus on the Vite of individual artists past or present: Vasari's heroes (Giotto and Masaccio) and villains (Piero di Cosimo) as well as his contemporaries, friends (Salviati) or foes (Cellini), alike.
This work traces the life of Lorenzo di Piero di Cosimo de' Medici from his birth in 1449 through his death in 1492 and the period following.
Using classical texts, antique myths and Renaissance paintings (Tintoretto, Veronese and Piero di Cosimo), Wagschal comes up with a fascinating interpretation of a poem by Gongora where jealousy is represented through incongruous iconographic juxtapositions, as it reveals the underpinnings of the unconscious and thus "forges a modern notion of the psyche" (156).
Proprio rilevando una salda compresenza, specie dopo il primo decennio dei Cinquecento, tra decoro e licenza nell'interdiscorsivita cortigiana, Finotti passa in rassegna i momenti chiave dei revival satiresco: le mitologie padane di fine Quattrocento, la miniatura padovana, l'ecfrasi delle Stanze di Poliziano e il paganesimo silvestre dei suo Orfeo, il "distacco etnologico" (228) delle tavole bacchiche di Piero di Cosimo, l'appello a una religio rustica dei carmi latini di Pontano e Bembo e soprattutto il programma decorativo nelle regge di Ferrara e Mantova.
Piero di Cosimo's paintings, especially his spellbinding secular ones, have secured his status as one of the most inventive and original artists of the Renaissance.
The first preserved example of the soon-to-be ubiquitous Medici dynastic device of a single gold ring set with a point-cut diamond, in the form of a pyramid, appears in a Petrarchan manuscript, dating to the early 1440s and made for Piero di Cosimo il Vecchio de' Medici.