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Customer Reviews (3)

wheres the art?
I must admit my interest in this book was high, I had seen the artists work at other places, but never a decent size image...well gang this is not the place to find any real legible imagery of this artist. It is astonishing to find the lions share of paintings ,are no more than an inch or so in height running across the top of the pages...truly ludicrous...how anyone might review this in a positive manner is a mystery to me, maybe if you are only interested in the text, but avoid if you seek artwork...you have been warned!

All Future Discussions of Piero Will Have to Revolve Around This Book
This book is an essential addition to any library of Renaissance art. The author takes on one of the most problematic artists in the entire canon, sets him within the context of his time, and quietly distills the complex and intricate images that have made Piero's paintings so fascinating to us today. Recognizing that Piero's works are chronologically problematic, the book takes the innovative approach of discussing all the known works--some previously unpublished--by genre. Particularly fascinating is the discussion of mythologoical works which are the most elusive of Piero's oeuvre. In order to capture the full range of Piero's intention, the author delves into historical and literary sources, and renders a stimulating analysis of the relationship of text to image. Also key is the author's understanding of Piero's uncanny inventiveness and his ability to reach beyond the framework of a story to render an artistic vision that is not derivative but truly inspiring. This is the premier book on Piero di Cosimo's work--one that will be a touchstone for all subsequent research.

Top Images
Number one for illustrations. No score for text. Einstein once said that if you cannot explain something simply, you do not know your subject well enough. The author certainly seems to know his subject; but his writing is choked with contortions. One idea to one sentence would be a good beginning. ... Read more

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Piero di Cosimo is one of the most intriguing figures of the Italian Renaissance. In this, the only monograph available on the artist, Sharon Fermor redefines the nature of Piero's art and his place within the culture of his time. ... Read more

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The authors discuss the subject and technique of the Forest Fire, one of the best known early Renaissance paintings in Britain. The illustrations include recent x-rays and infrared photographs made while the painting was undergoing restoration. ... Read more

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Chapters: William Lilye, Gavin Douglas, L'encobert, Mujir Al-Din Al-'ulaymi, Johann Reuchlin, Bianca Riario, Piero Di Cosimo, Jean Mouton, Anne of France, Vicent Peris, Henry Bredemers, Franchinus Gaffurius, Giovanni Antonio Amadeo, Raffaello Maffei, Eleni of Ethiopia, Matthäus Schiner, Fiorenzo Di Lorenzo, Antonio de Nebrija, Alain I of Albret, Ramón de Cardona, Bartolomé Ramos de Pareja, Richard Fitzjames, Hero Oomkens Von Esens, Edward Vaughan, Anna Radziwiłł, Johannes Stabius, Erazm Ciołek, Varlaam, Metropolitan of Moscow, Albert of Castile, Janus Parrhasius, Richard Strode, Bernard André, Johann Rynmann of Augsburg, Gioffre Borgia, Christopher Urswick, Richard Elyot, Wolfgang I of Oettingen, Gaspard I de Coligny, Christophe de Longueil, Albert Von Stein, Arnold Winkelried of Unterwalden, Gonzalo Pizarro Y Rodríguez, Agnese Da Montefeltro, Cavazzola, Mikuláš Klaudyán. Source: Wikipedia. Pages: 146. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Excerpt: Gavin Douglas (c. 1474 September, 1522) was a Scottish bishop, makar and translator. Although he had an important political career, it is for his poetry that he is now chiefly remembered. His principal pioneering achievement was the Eneados, a full and faithful vernacular translation of the Aeneid of Virgil and the first successful example of its kind in the British Isles. Other extant poetry includes his Palice of Honour and possibly King Hart. Douglas was educated at St Salvator's College, St Andrews and was a friend and correspondent of many of the internationally renowned men of his age, including Polydore Vergil, John Major, Cardinal Wolsey and Henry, 3rd Lord Sinclair. Because of his powerful family connections and role in high public life, he is the best-documented of the early Scottish makars. Indeed, of poets in the British Isles befor...More: http://booksllc.net/?id=335165 ... Read more

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Purchase includes free access to book updates online and a free trial membership in the publisher's book club where you can select from more than a million books without charge. Chapters: Louis Xii of France, Baccio D'agnolo, Jodocus Badius, Johannes Trithemius, Piero Di Cosimo, Pietro Pomponazzi, Joanna La Beltraneja, Íñigo Fernández de Velasco, 2nd Duke of Frías, Jalaladdin Davani, Mahmud Khan, Walraven Ii Van Brederode, Juan de Anchieta, Alexander, Count Palatine of Zweibrücken, Nicolaas Everaerts, Cristofano Robetta, Engelbert, Count of Nevers. Excerpt:Alexander of Zweibrücken (German : Pfalzgraf Alexander von Zweibrücken "der Hinkende" ) (26 November 1462 21 October 1514), was Count Palatine and Duke of Zweibrücken and of Veldenz in 1489-1514. He was the son of Louis I, Count Palatine of Zweibrücken and his wife Johanna of Croÿ. Alexander promised to establish a church after the successful return from a crusade, and it was kept in 1489 with the building of the Alexanderskirche in Zweibrücken . Family and children He was married in 1499 in Zweibrücken to Countess Margarete of Hohenlohe-Neuenstein, daughter of Count Kraft VI of Hohenlohe and Helene of Württemberg. They had the following children: Preceded by Louis I : Duke of Zweibrücken 1489 1514: Succeeded by Louis II Websites (URLs online) A hyperlinked version of this chapter is at Bartolini palace in Florence Baccio D'Agnolo , born Bartolomeo Baglioni (May 19, 1462 - March 6, 1543 ), was an Italian woodcarver , sculptor and architect from Florence . "Baccio"'is an abbreviation of Bartolomeo, and "d'Agnolo" refers to Angelo, his father's name. He started as a wood-carver, and between 1491 and 1502 did much of the decorative carving in the church of Santa Maria Novella and the Palazzo Vecchio in Florence. Having made his reputation as a sculptor he appears to have turned his attention to architecture, and to have studied at Rome , though the precise date is uncertain; but at the beginning of the sixteenth... ... Read more