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皮耶罗·迪·科西莫Piero di Cosimo

皮耶罗·迪·科西莫Piero di Cosimo(1462年1月2日——1522年4月12日)。意大利画家。在他职业生涯的第一阶段,皮耶罗被的荷兰自然影响雨果·凡·德·古斯,其从Portinari三联(现在的乌菲齐画廊在佛罗伦萨)有助于整个佛罗伦萨绘画引入新的渠道。从他身上,最有可能,科西莫获得景观的爱与鲜花和动物生命的成长成竹在胸。范德去雨果的方式是在特别明显牧羊人的崇拜,在柏林博物馆。

  • 中文名皮耶罗·迪·科西莫
  • 外文名Piero di Cosimo
  • 性别
  • 国籍意大利
  • 出生地佛罗伦萨
  • 出生日期1462年1月2日
  • 逝世日期1522年4月12日
  • 职业画家
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中文介绍

金匠,洛伦佐迪皮耶罗的儿子,皮耶罗出生于佛罗伦萨和艺术家在学徒科西莫Rosseli,他从他们那里获得了他的受欢迎的名字和他的人在这幅画协助西斯廷教堂 1481年。

在他职业生涯的第一阶段,皮耶罗被的荷兰自然影响雨果·凡·德·古斯,其从Portinari三联(现在的乌菲齐画廊在佛罗伦萨)有助于整个佛罗伦萨绘画引入新的渠道。从他身上,最有可能,科西莫获得景观的爱与鲜花和动物生命的成长成竹在胸。范德去雨果的方式是在特别明显牧羊人的崇拜,在柏林博物馆。

他到罗马在1482与他的主人,罗塞利。他证明了自己的一个真正的孩子文艺复兴在这样的照片作为描绘古典神话题材金星,火星和丘比特,普洛克里斯之死,英仙座和仙女座系列,在乌菲齐,和许多其他。灵感的维特鲁威“账户人类进化中,皮耶罗的神话组合物表现出的人和动物或人学习用火和工具的混合形式存在离奇。在这些作品中的裸体众人展示的影响卢卡·西诺莱利对皮耶罗的艺术。

在他的一生中,皮耶罗收购了偏心-A增强,被后来的评论家,如夸张的口碑声誉瓦萨里,谁包括皮耶罗·迪·科西莫的在他的传记艺术家的生活。据报道,他被吓坏了雷暴,因此pyrophobic他很少熟他的食物; 他主要住在煮鸡蛋,这是他在一次准备50而对于他的作品煮胶水。他也拒绝他的工作室的任何清洁,或者他的果园的果树修剪; 他住,瓦萨里写道,“更像是一个禽兽不如的人”。

如果像瓦萨里声称,他度过了最后岁月他在灰暗的退休生活,这种变化可能是由于传道萨佛纳罗拉,他的影响下,他把注意力再次向宗教艺术。他的主人罗塞利的死亡也可能影响皮耶罗的郁闷长老年。在圣母无原罪与圣徒,在乌菲齐,和圣家,在德累斯顿,说明到他被萨沃纳罗拉刺激了宗教狂热。

随着在罗塞利的的壁画景观背景之外登山宝训,在西斯廷教堂,也没有从他的画笔任何壁画的工作记录。在另一方面,皮耶罗享有盛名的肖像画家:最著名的他的工作其实是一个画像佛罗伦萨贵妇,西莫内塔·韦斯普奇的女主人朱利亚诺·德·美第奇。据瓦萨里,皮耶罗擅长设计和选美游行凯旋佛罗伦萨的爱享乐的年轻人,并给出了一个这样的游行在1507狂欢节,这说明死亡的胜利结束了生动的描述。皮耶罗·迪·科西莫在他的同胞行使的学生相当的影响力Albertinelli和巴托洛梅奥德拉门,并且是大师安德烈亚·德尔·萨尔托。

瓦萨里了死亡的皮耶罗的日期为1521年,而这个日期仍然被许多来源,包括重复的大英百科全书。然而,当代的文件显示,他在12鼠疫死亡四月1522
 

English Introduction

Goldsmith, Lorenzo Di Piero's son, Piero was born in Florence and the artist in the apprentice Cosimo Rosseli he obtained his popular name and his people in the painting to the Sistine Chapel in 1481 from them.
In the first stage of his occupation career, Piero Holland was the natural influence of Hugo Van de Gus, from the triple Portinari (now the Uffizi Gallery in Florence) to help the Florence painting into new channels. From him, most likely, Cosimo love and get the landscape flowers and animal life have ready plans to meet a situation. Van der de Hugo's way is particularly evident in the adoration of the shepherds in the Berlin museum.
He went to Rome in 1482 with his master, Rosselli. He proved a real boy revival of their literary and art in this photo as depicted in classical mythology Venus, Mars and Cubitt, house of the death of Chris, Perseus and Andromeda series, in the Uffizi, and many other. Inspired by Vitruvius' account of human evolution, the mixed form of myth composition exhibits Piero and animal or human use of fire and learning tools exist bizarre. The influence of naked people on the works of Piero in the works of Luca Sinoleli.
During his lifetime, Piero acquired an eccentric -A enhancement, which was later criticized by critics such as the reputation of the exaggerated reputation of Vasari, who included the life of the artist in his biography of the author of the life of the artist, mr.. It is reported that he was frightened by the thunderstorm, so pyrophobic he seldom cooked his food; he lived mainly in boiled eggs, which he was preparing for 50 while cooking glue for his work. He also refused any cleaning his studio, or his orchard pruning of fruit trees; he lived, he wrote, "is more like a beast than man".
If Vasari claimed that he spent the last years of his retirement in the dark, this change may be due to Savonarola preaching, his influence, he turned his attention again to the religious art. The death of his master, Rosselli, could also have affected Piero's depression. In the Immaculate Conception and the saints, in the Uffizi, and the holy family, that he was in Dresden, Savonarola stimulated religious fanaticism.
In addition to Rosselli's paintings with landscape background sermon in the Sistine Chapel, nor any murals from his brush work record. On the other hand, Piero renowned portrait painter: the most famous of his work is a portrait of Florence lady, mistress of Giuliano de Medici Simonetta Vespucci. According to Wang, Piero specializes in the design and beauty pageant triumph of Florence's love loving young people, and gives a vivid description of such a parade at the end of the 1507 carnival, which illustrates the triumph of death. Piero Di Cosimo exercised considerable influence over his fellow students Albertinelli and Bartolomeo della Men, and was the master of Andrea Del Sarto.
The death of Piero Vasari dated 1521, and this date is still seen by many sources, including the repetition of the Encyclopedia britannica. However, contemporary documents show that he died in 12 plague in April

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