|Piero di Cosimo, Giuliano da Sangallo and Francesco Giamberti. The two-part painting was on loan from Amsterdam's Rijksmuseum recently.|
|Piero di Cosimo's Allegory, is part of the National Gallery's|
own collection. It is seen as an allegory of overcoming
one's animal nature.
However, Piero is best known for his paintings of mythological allegories. Allegory in the National Gallery, left, is usually interpreted as a classical story of the choice between good and evil, also called The Dream of Scipio. There's a winged female figure taming the wild horse. The animal is a reminder of the bestial side of nature. (Most men need to be tamed by women.) The half-human mermaid on bottom is swimming to the right.
|Piero di Cosimo, The Hunting Scene, c. 1510, Metropolitan Museum of Art|
|Return from the Hunt (detail) Metropolitan, NY|
On the other hand, I see that Piero as relating his depictions primeval themes to Christianity. The sequel to the brutal hunting scene, Return from the Hunt, has a the detail (right), a man sitting in a tree that resembles the cross, and another man making or carrying a wooden cross like Simon. Is it somehow connected to Jesus' crucifixion, even if Jesus and Simon aren't there?Couples are falling in love. It would seem that Piero believes that even the wildest of men can be redeemed and overcome their animal nature.
It was common for Renaissance artists to do graphic compositions to show off their knowledge of one-point linear perspective. The Building of a Palace is Piero's showpiece of perspective. This interesting demonstration of building methods has multiple activities going on at once. Another wooden cross is visible in the upper right, attached to a piece of machinery in front of the grand palace. He repeats the cross in what appears to be a secular scene, somewhat like the way Dutch artists of the 1600s put in their reminders of death and redemption. Surely the Christian message was important to Piero no matter how secular or pagan he seems.
|Piero di Cosimo, The Building of a Palace, 1515-20, Ringling Museum of Art, Sarasota, Florida|
When Piero painted Perseus and Andromeda, a classical tale from Ethiopia, he picked up a theme not so different from the familiar Christian story of St. George and the Dragon.
|Perseus and Andromeda, 1510 or 1513, Uffizzi, Florence|
The National Gallery's painting, The Visitation with St. Nicholas and S. Anthony, is one of Piero's most famous paintings. Vasari describes the reflections on the balls of St. Nicholas as a reflection of the "strangeness of his brain." After his teacher Cosimo Roselli died, Piero shut himself up and led a life less man than beast, according to Vasari. "He would never have his rooms swept. He would only eat when hunger came to him, and then only eggs. He boiled 50 eggs at a time, at the same time he boiled his glue for paint."
|The Discovery of Honey, from the Worcester Art Museum|
Vasari further described Piero's eccentricities. He was deathly afraid of lightning. Is it the real Piero, or something Vasari arrived upon by hearsay or by his own deduction? We will never know. "And he was likewise so great a lover of solitude, that he knew no pleasure save that of going off by himself with his thoughts, letting his dance roam and building his castles in the air." The small mythological paintings, like The Invention of Honey, show his greatest gift as an artist: the ability to tell a story with allegorical content. Along with this storytelling ability, he had a wonderful capability of creating panoramas with perspective and integrating the figures into nature.
|Piero di Cosimo, Vulcan and Aeolus, c. 1500, National Gallery of Canada, Ottawa|
Piero is better at painting panoramic allegories than painting figures on a larger scale. Sometimes the anatomy is weak and his foreshortening is inaccurate, as in Vulcan and Aeolus. Yet the painting is enchanting and brings us into a dreamworld where an unexpected mix of events takes place. A Dutch painter who lived at the same time, Heironymous Bosch, also painted giraffes he never may have seen. Like Bosch, he's an ancestor of Surrealists. What was he thinking?
|The Myth of Prometheus, c. 1515, Alte Pinakothek, Munich|
|Madonna with Jesus, St. John the Baptist, Sts. Jerome and |
Bernard of Clairvaux
|Simonetta Vespucci, not in the NGA show|
Musee Conde, Chantilly France
His bacchanalian scenes had "strange fauns, satyrs, sylvan gods, little boys and bacchanals, that is is of marvel to see the diversity of the bay horses and gameness, and the variety of goat like creatures," describes Vasari. There is a "joy of life produced by the great genius of Piero. There's a certain subtlety by which he investigates some of the deepest and most subtle secrets of Nature, but only for his own delight and for his pleasure in art."
|detail the Invention of Honey|
Piero was a wonderful eccentric who painted many imaginative and poetic mythologies. What links him to the best of the Renaissance is his lush colors, his landscapes and deep perspective. Some of his work is excellent but others stand out for their uneven quality. What breaks the mold for this time is when his mythologies reveal mankind's delightful, bestial nature. Like the mannerist images Arcimboldo came up with later in the 16th century, his paintings teach us about the dark side of our human nature. In fact, his knarled branches look much like Arcimbolodo's portrait of the The Four Seasons in One Head.