Piero di Cosimo (1462–1522) — a Florentine painter whose personality causes controversial opinions. During a long period, starting with G. Vasari (1511–1574), art historians regarded this master as a talented madman, “hermit” and “lover of solitude”, whose unlimited fantasy brought him to the creation of works that differ significantly from pictures of his contemporaries. Recently, however, such a point of view on the master’s personality is revised due to the new archive documents recently discovered.
The works of Piero di Cosimo demonstrate influence of Flemish art, which can be seen, for example, in a tendency toward naturalism, narrative and love to details. These elements are combined with the desire of elegance, grace and courtesy, corresponding with tastes that prevailed at the court of Medici.
Attention to details also reflects the fact that Piero di Cosimo was a miniaturist. Theatrical elements can be best seen in the compositions on mythological theme (in particular, it is true for the “Liberation of Andromeda”, ca. 1510–1513, The Uffizi, Florence; “A Satyr mourning over a Nymph”, ca. 1495, the National Gallery, London). His religious subjects are more discreet and solemn and close to the Florentine tradition.
Despite the prominent role of imagination, Piero di Cosimo uses specific sources, first of all, literary, and creatively transforms them. The same is seen in his portraits (“Portrait of Simonetta Vespucci”, ca. 1480, Musée Condé, Chantilly). The goal of this paper is to show the links between the work of the Florentine master and literature.

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