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The study of Piero di Cosimo belongs no less to the history of the imagination than to the history of art. As was true for Giorgio Vasari five centuries ago, Piero’s intensely personal visual language remains a moving target for modern scholars. Yet, as surprising and strange as his pictorial solutions appear, we have never known as much about Piero as we do today. Freed from the powerful spell of Vasari’s biography-cum-cautionary tale, the Piero that emerges is not solely a conjurer of the uncanny, but a sensitive observer of the emotions, the natural and manmade worlds, humans and beasts, surfaces and coloristic effects, phenomena material and ephemeral.
The conference from which the thirteen essays in this volume spring provided a forum for international scholars to continue the ongoing conversation and to ask new questions. The latter address Piero’s relationship to his artistic contemporaries, north and south of the Alps; the master’s Marian imagery; his intellectual engagement with classical traditions; the dual themes of naturalism and exoticism; and the latest technical findings. Topics of investigation thus range as broadly as Piero’s own versatile production, uniting diverse fields and methods, traversing regional boundaries, and often venturing far beyond Florence’s city walls, into the wild.
Contributors are Ianthi Assimakopoulou, Marina Belozerskaya, Jean Cadogan, Elena Capretti, Alessandra Galizzi Kroegel, Dennis Geronimus, Guy Hedreen, Sarah Blake McHam, Anna Teresa Monti, Paula Nuttall, Roberta J.M. Olson, Lesley Stevenson, Lisa Venerosi Pesciolini, and Elizabeth Walmsley.
The conference from which the thirteen essays in this volume spring provided a forum for international scholars to continue the ongoing conversation and to ask new questions. The latter address Piero’s relationship to his artistic contemporaries, north and south of the Alps; the master’s Marian imagery; his intellectual engagement with classical traditions; the dual themes of naturalism and exoticism; and the latest technical findings. Topics of investigation thus range as broadly as Piero’s own versatile production, uniting diverse fields and methods, traversing regional boundaries, and often venturing far beyond Florence’s city walls, into the wild.
Contributors are Ianthi Assimakopoulou, Marina Belozerskaya, Jean Cadogan, Elena Capretti, Alessandra Galizzi Kroegel, Dennis Geronimus, Guy Hedreen, Sarah Blake McHam, Anna Teresa Monti, Paula Nuttall, Roberta J.M. Olson, Lesley Stevenson, Lisa Venerosi Pesciolini, and Elizabeth Walmsley.
Price: $175.00
Pages: 320
Publisher: Brill
Imprint: Brill
Series: NIKI Studies in Netherlandish-Italian Art History
Publication Date:
13 December 2018
ISBN: 9789004363052
Format: Hardcover
“Extremely valuable for the ongoing study of Piero di Cosimo.”
Gretchen A. Hirschauer, National Gallery of Art, Washington, DC. In: Renaissance Quarterly, Vol. 75, No. 1 (Spring 2022), pp. 229–231.
Gretchen A. Hirschauer, National Gallery of Art, Washington, DC. In: Renaissance Quarterly, Vol. 75, No. 1 (Spring 2022), pp. 229–231.
Dennis Geronimus, Ph.D. (Oxford University, 2001), is Associate Professor of Italian Renaissance Art and Chair of the Department of Art History at New York University. He is the author of Piero di Cosimo: Visions Beautiful and Strange (New Haven and London: Yale University Press, 2006), and co-curator (with Gretchen Hirschauer) of the exhibition Piero di Cosimo: The Poetry of Painting in Renaissance Florence, held at the National Gallery of Art, Washington, in 2015. He is presently at work on a book devoted to Jacopo da Pontormo, to be published by Yale University Press.
Michael W. Kwakkelstein, Ph.D. (Leiden University, 1994), is Professor of Italian Renaissance Art and Art Theory at the Department of History and Art History at Utrecht University, and Director of the Dutch University Institute for Art History in Florence. He is the author of Leonardo da Vinci as a Physiognomist. Theory and Drawing Practice (Leiden: Primavera Pers, 1994) and guest curator of the exhibition Leonardo da Vinci: The Language of Faces (Teylers Museum, Haarlem 2018). He has published various articles on Leonardo da Vinci and other Italian Renaissance artists. Currently he is writing a book on Leonardo for Singel Uitgeverijen (2020).
Michael W. Kwakkelstein, Ph.D. (Leiden University, 1994), is Professor of Italian Renaissance Art and Art Theory at the Department of History and Art History at Utrecht University, and Director of the Dutch University Institute for Art History in Florence. He is the author of Leonardo da Vinci as a Physiognomist. Theory and Drawing Practice (Leiden: Primavera Pers, 1994) and guest curator of the exhibition Leonardo da Vinci: The Language of Faces (Teylers Museum, Haarlem 2018). He has published various articles on Leonardo da Vinci and other Italian Renaissance artists. Currently he is writing a book on Leonardo for Singel Uitgeverijen (2020).