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See also: born in Florence about 1462, and worked in the bottega of Cosimo See also: Rosselli (from whom he derived his popular name)
.
Other influences that can be traced in his See also: work are those of Filippino See also: Lippi, Luca See also: Signorelli, and Leonardo da See also: Vinci, and, as has been recently suggested by Professor R
.
Muther, that of Hugo See also: van der Goes, whose Portinari altar-piece (now at the
Spedale of S
.
Maria Novella in Florence) helped to See also: lead the whole of Florentine See also: painting into new channels
.
From him, most probably, he acquired the love of landscape and the intimate knowledge of the growth of See also: flowers and of animal See also: life
.
The influence of Hugo van der Goes is especially apparent in the " Adoration of the Shepherds," at the Berlin Museum
.
He had the gift of a fertile fantastic See also: imagination, which, as a result of a journey to See also: Rome in 1482 with his master, Rosselli, became: directed towards the myths of classic antiquity
.
He proves himself a true See also: child of the See also: Renaissance in such pictures as the " See also: Death of Procris," at the See also: National Gallery, the " See also: Mars and See also: Venus," at the Berlin Gallery, the " See also: Perseus and See also: Andromeda " series, at the Uffizi in Florence, and the " See also: Hylas and the See also: Nymphs " belonging to Mr See also: Benson
.
If, as we are told by See also: Vasari, he spent the last years of his life in gloomy retirement, the change was probably due to See also: Savonarola, under whose influence he turned his See also: attention once more to religious See also: art
.
The " Immaculate Conception," at the Uffizi, and the " See also: Holy See also: Family," at See also: Dresden, best illustrate the religious fervour to which he was stimulated by the stern preacher
.
With the exception of the landscape background in Rosselli's See also: fresco of the " See also: Sermon on the See also: Mount," in the Sistine See also: Chapel, we have no record of any fresco work from his See also: brush
.
On the other See also: hand, he enjoyed a See also: great reputation as a portrait painter, though the only known examples that can be definitely ascribed to him are the portrait of a See also: warrior, at the National Gallery, (No
.
895), the so-called " Bella Simonetta," at See also: Chantilly, the portraits of Giuliano di See also: San Gallo and his See also: father, at the Hague, and a See also: head of a youth, at See also: Dulwich
.
Vasari relates that See also: Piero excelled in designing pageants and triumphal processions for the pleasure-loving youths of Florence, and gives a vivid description of one such procession at the end of the carnival of 1507, which illustrated the See also: triumph of death
.
Piero di Cosimo exercised considerable influence upon his See also: fellow pupils See also: Albertinelli and Bartolommeo della Porta and was the master of See also: Andrea del Sarto
.
Examples of his work are also to be found at the Louvre in See also: Paris, the Harrach and See also: Liechtenstein collections in Vienna, the See also: Borghese Gallery in Rome, the Spedale degli Innocenti in Florence, and in the collections of Mr See also: John Burke and Colonel Cornwallis West in
See also: London
.
A " Magdalen" from his brush was added to the National Gallery of Rome in 1907r
See Piero di Cosimo, by F
.
Knapp (See also: Halle, 1899) ; Piero di Cosimo, by H
.
Haberfeld (See also: Breslau, 1901)
.
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