This tondo shows the Virgin as the Madonna of Humility, seated on the ground with the Christ child on her knee. Two wingless angels flank her and look down in quiet contemplation of the foreground saints. At right is Cecilia, the patron saint of music.
"Piero di Cosimo: The Poetry of Painting in Renaissance Florence" runs through May 3: 1.usa.gov/1D025gY.
Piero di Cosimo, "Madonna and Child with Saints John the Baptist and Cecilia (?) with Two Angels," c. 1505 -1510, oil on panel, The Art Institute of Chicago, Lacy Armour Fund
National Gallery of Art
“Portrait of a Lady” is a particularly fragile work. Old restorations had filled the multiple wide-spread pigment losses, resulting in serious alterations of the profile, complexion, folds of the veil, and the black dress. The only area that has remained almost intact is the gloved hand holding a green leaf, painted with a dense, fluid, and glowing quality that is a good as Piero di Cosimo’s signature.
"Piero di Cosimo: The Poetry of Painting in Renaissance Florence" runs through May 3: 1.usa.gov/1D025gY.
Piero di Cosimo, "Portrait of a Lady," c. 1503, tempera and oil on paper, glued onto wood panel, Galleria Palatina, Palazzo Pitti, Florence, Scala/Ministero per i Beni e le Attività culturali / Art Resource, NY
This tondo shows the Virgin as the Madonna of Humility, seated on the ground with the Christ child on her knee. Two wingless angels flank her and look down in quiet contemplation of the foreground saints. At right is Cecilia, the patron saint of music.
"Piero di Cosimo: The Poetry of Painting in Renaissance Florence" runs through May 3: 1.usa.gov/1D025gY.
Piero di Cosimo, "Madonna and Child with Saints John the Baptist and Cecilia (?) with Two Angels," c. 1505 -1510, oil on panel, The Art Institute of Chicago, Lacy Armour Fund
National Gallery of Art
“Portrait of a Lady” is a particularly fragile work. Old restorations had filled the multiple wide-spread pigment losses, resulting in serious alterations of the profile, complexion, folds of the veil, and the black dress. The only area that has remained almost intact is the gloved hand holding a green leaf, painted with a dense, fluid, and glowing quality that is a good as Piero di Cosimo’s signature.
"Piero di Cosimo: The Poetry of Painting in Renaissance Florence" runs through May 3: 1.usa.gov/1D025gY.
Piero di Cosimo, "Portrait of a Lady," c. 1503, tempera and oil on paper, glued onto wood panel, Galleria Palatina, Palazzo Pitti, Florence, Scala/Ministero per i Beni e le Attività culturali / Art Resource, NY
Combining Piero’s love of unusual landforms and theatrical effects, this late masterpiece shows the artist at the height of his poetic powers. Painted for a Florentine merchant, the painting recounts the rescue of the Ethiopian princess Andromeda, whose mother, Queen Cassiopeia, had boasted that her daughter was more beautiful than the Nereids, a group of beautiful sea nymphs. To appease the gods, Andromeda was bound at the water’s edge and offered to a sea monster as a sacrifice.
"Piero di Cosimo: The Poetry of Painting in Renaissance Florence" runs through May 3: 1.usa.gov/1D025gY.
Piero di Cosimo, "Liberation of Andromeda," c. 1510-1513, oil on panel, Galleria degli Uffizi, Florence, Alinari / Art Resouce, NY
This panel shows Prometheus’ triumph in stealing the celestial fire and Jupiter’s punishment for such temerity: at right Prometheus is sentenced to be bound for eternity while an eagle daily devours his liver. The economy of action and setting, the warm, earthy ochers and greens, enlivened by shots of red, are all characteristic of the last years of Piero’s career.
"Piero di Cosimo: The Poetry of Painting in Renaissance Florence" runs through May 3.
Piero di Cosimo, "Prometheus Stealing the Celestial Fire," c. 1510 oil on poplar panel, Musée des Beaux-Arts, Strasbourg
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